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|Thesis|The World of Teruo Sato |Person|3-2 View To Broad Band Index
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(2) "View"

   This work is categorized in the landscape, however, it is greatly deviated from Sato's painting style. It is because he was not following the style such that Sato's concept for a land is the world of human and the civilized symbols are always placed there. These are an absolute hill or simply an entrance of a valley. (However, according to Sato, a hill in this context is the place that gathers the soil for the pottery, and it has been created by the civilized work of the human beings. So it is said that the entire thing is the metaphor of civilization. The painting style accomplishes in a hidden form here.)
   However, the shadow of Sato himself is drawn in the lower right of this painting. Sato showed that the land, for Sato,was for the human world by inserting and adding this vague shadow of him. Sato received a big impact from this land scenery. However, this impact never made him produce a sequel work of this and the unique form that is created from his sense of beauty never collapsed.
   A self-portrait or not, Sato always saw the main object in a painting from the front. Since Sato himself was the most important theme for his paintings, he could not be transferred to a supporting role.
   However, in this work, Sato himself was placed in the corner. Moreover, the shadow as an object turns to the direction where the painter Sato is. Sato is not seeing himself in this painting. He and his shadow, as one, are overwhelmed by the grand scenery in front of them and they are trying to fight back together.
   They are trying to keep Sato's painting form, that is to say, his sense of beauty. Sato decisively refuses to take in the land as pure nature; he tries to impress a seal stating that the land is for the human world.
   Also, the painting style of Sato that death invades into a wide space on Earth started to get eroded away as well. Actual live Sato is drawn in this painting. Since it was an open space, the horizontal corpse is supposed to emerge into this place.
   However, Sato painted himself in this piece as a standing figure. As mentioned before, perpendicularity indicates life. This is the opposite side of death. On the other hand, in order to recover his painting style, he covered the window of the death without having a horizon in the painting. He brought himself to death by leveling, fixing himself inside the shadow, and projecting it onto the ground. Since he himself is at the top of life, Sato is the most unsuitable object for the open land which is the place for death. Therefore, as the compromise, Sato cast a shadow of himself as a substitute of himself in the horizontal direction.
   Also, in this work, another painting style of Sato that there is no such thing as an embodied self-portrait is about to be torn. However, by refusing to use complete embodiment, he kept his constant painting form.

                                            ― Written, summarized and translated by Taketoshi Murayama ―                                                ― Original translation is rewritten by Tomoko Daijo McLean ―

This text must not be translated into any other languages without author's permission.

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