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The World of Teruo Sato
 ; Summarized Edition

First part : Work

                                          Written, summarized and translated by Taketoshi Murayama
                                     Original translation is rewritten by
Michiko Takahashi Christofis


This original text is written in Japanese.
Complete edition will be translated into English in the future.
This text must not be translated into any other languages without author's permission.



1, Implement of the painter

    The painter turns his back to the words. The painter approaches the image from the reverse side of the words. Entering an image through the words is an approach of the literary man. The image is a product of the sense. The words are nothing more than a convention. The image is an implement frequently used by the painters. If an image occurs to the painter's mind, it becomes "representation"; if placed in the external world, it is called "object".
    The operation to directly combine "object" with "representation" is, in a wide sense, the symbol operation. The painter's ability is displayed in the process of operating the image and relating it to the world at his will. Image is the father of work and world is its mother's body. Within the self, the painter blends the paternity and the maternity.
    The world elucidated to the painter through "field" is part of the universe. The "field", here means specific time and space in which the painter discovers a material or a theme when he actually produces a work. The painter cannot change the world which has been elucidated to him; however, he manipulates it freely and through this act, he can relate himself to the various "realities".
    The common purpose of all "abstract picture" is to separate the "reality" that the external world brings about and the "reality" that the painter creates, extracting what the image produces in a single piece of work. In contrast, an attempt to lay out the two realities and canceling them out in a single piece of work is the purpose of "representational painting". 
    The painter's attempt to appeal free image-operation emerged most typically in the "expressionism" that bloomed from the postimpressionism in the 20th century. In view of this, painting techniques are roughly classified into the expressive way and the faithful way, which is used in representational paintings.
    Image is what a person can interpret freely, meanwhile the undeniable "reality" appears in the world;- this applies to pictures as well. No matter how the painter can freely operate the image, he as a human, must submit to the "reality" of the world. If the painter were a god, he could produce various kinds of realities at the same time. Only the attempt to adjust the image to the world leads him to human reality. This approach is called "realism".  

     If a painter who is endowed with a high Creator-like ability feels it painful to renounce free imagecreation, he will continuously persist with the image's originality. On the other hand, he will plow through the road of "realism" if he feels pleasure to cancel the image's originality. The abstract painter sticks to the ability like a god, being fractious to the way of living as a human being: the representational painter is obedient to it.
    Hence the realist must hold fast to the human reality, and understand that the painter's capability results from his experience. He should not let God concern with any aspect of his activity. Only thing allowed to him is becoming eGodf himself within his work.
    Image is composed of the implements provided by the world, but yet this is not true for all images; some are awakened by words. The words are not a world, but a sign. However, the words have produced a world of literature.

@  The painter can touch and communicate directly with a world without any use of words. There are two ways for him to confront the words:
@  If he makes an approach to harmonize with the words, he may end up in a humble servant of literature; which would popularize his works and make them easier to understand, but has a risk of being interpreted as just an "illustration". If he has a sense of opposition to the words, he can become a sovereign of colors and lines ? that will pave the way for the pure, holy picture, but will be self-righteous as well. So in this case, the painter will be compelled to confront the literature in one way or another.
    The painter's way of concerning words incessantly forces him the alternative of whether to flow with popularity, or to be alienated. As long as being a human
, the painter cannot eliminate the words: there is no way to escape from this option.
@  When the image concerns a human being, it deeply relates to the play. Picture, which directly handles the image, gets close to the play as well. Since the distance between picture and play is equal to that of literature, the picture becomes the greatest rival for the literature over dramatic sense.

   Architecture makes use of the third dimension, which is impossible for picture. Further it can fully absorb the picture on its wall. For example, the Sistina chapel has, in a sense, created Michelangelo's (1475-1564 Italian sculptor, painter and architect) "The Last Judge". Above all, still life picture is most strongly prescribed by the architecture; it has even an architectonic structure in its whole interior.
@ Nevertheless, since the picture holds inside the duality of image and world, architectural elements can be dragged in as part of its world; this makes the picture none the more self-assertive in spite of belonging to architecture. The defect of architecture is in its operation of only diagrammatic images, not having a world inside it.
@ Dessin is a picture with image by itself which lacks a world. This is true for colored dessin as well. The picture can oppose the architecture by having both image and world. The dessin, however, renounced its strongest arm on its own accord: put another way, it has confined itself in a sketchbook.



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