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■序文 松本旻アンソロジー 対極にある実業界と芸術の世界を比較するのは乱暴ですが消費者とメーカーにおいては、互いに求め刺激しあって良質の商晶を創造し消費を拡大、消費者はその恩恵を満喫します。例えばソニーのウォークマンのように一。そこには確かな基礎技術力の上に若者を刺激する創造が行なわれているのです。芸術もそういう意味で似ているといえます。 1990年、今日の日本は飽食といわれるほど繁栄しています。例えば世界最強のドルに対し円はここ20年で3倍の価値を持つにいたりました。 一部の企業や人は10億、100億単位の大金を投じて印象派の絵画を買っている。これは主に投資の対象である事は間違いないのですが下心はさておき結果は一つの繁栄、あるいはそれにより派生した文化といってもいいでしょう。悪い事ではありません。（名前、ブランドにたよるのは自信のない証拠ですが…) かつて、仏教を保護したカニシカ大王はこの秩序に柔順な教団を国の安定に利用したのですが結果において仏像をこの世に創造してしまったのです。 しかしこれだけ繁栄の日本にあって、芸術家と市民の間には互いの想像力を刺激し発展を促す流れがまだかぼそいのはなぜでしょう。市民は芸術を鑑賞するだけのゆとりがないというのが実情でしょうが、芸術家も又流れるほどの水を流してはいない。もともと日本人には芸術的素質があり、それを愛でる心が伝統的にあるのです。一寸したきっかけ、かつて水泳の古橋の出現によって一気に世界のトップレベルに達した水泳界のように、インパクトのある芸術家によって市民を覚醒させる準備は整っていると思います。絵を見るのが若者のトレンディになるのは何と楽しい事でしょう。浮世絵も又江戸が最も豊かな時代に開花し、流行したのです。 松本旻さんはそういう意味で、日本の"大芸術時代"出現のきっかけの一人になれる才能と力量ある作家です。ひとがつい取リ落としてしまった青年の姿を持って歩いています。痩せてシャモに似た犬や鶏の作品は才能のきらめきがあり、実に楓爽としています。我々が笑って色盲検査表と呼ぶ点々の作品も基礎にしっかり）したりアリズムヘのテッサンがあって、それを発展させ集約しつくした抽象だからこそ、我々の胸をうつのでしょう。内外の多くの賞を取っているのもうなすけます。 私が初めて松本旻さんの作品に出あったのは、10年程前のロンドンから東京へ向かう退屈なＪＡＬの飛行機の中でした。私は何げないメニューの表紙に才能がきらきら落ちているのに気づき、とても大切に見えたのを思い出します。それはとてもしっかりした職人的作品であると同時に、その色彩は退届な私の眼をうきうきとさせてくれました。その後、"ギャラリー夏彦"によって作家本人とも親しく接するようになって、益々この第…印象が増幅させられています。先ず、作品に対し実に誠実です。自分の作品に対して常に少年のようなはにかみと真面目さがあって、世慣れした大人の私たちの心を清らかにしてくれる。これが実に良いと思うのです。 扱て最近、芸術家もサラリ一マンも一見変わらないようになリました。 一般の人々が求めるように、芸術家も又豊かさを求めるのは良い事なのですが、その道には他の人々と分かれてゆく道があって、それに気が付かないと芸術心もみるみる色あせてゆく。その事に気づきながらも別の道を歩めない芸術家が豊饒の中で多くなったようです。 「良いペンがないから良い作品が書けないのではない」と田山花袋は言っています。ウインドウの向こうに銀のペンがあっても、それをガラス越しに眺め続ける少年でありたいと私はいつも思っています。 好きと才能を混同している芸術家は少ないと思いますが、たまにそんな人がいて、その上芸術はもともとひとりよがりですから、好きという自己陶酔によって書かれた作品、私たちささやかな芸術愛好家にとって、とても悲しいのはそんな作品によって眼を浪費させられた時です。 この作品集はたぐいまれな童話をもたらしました。ささやかな人生を送る乙女が一人の芸術家と出会い、その一生の夢をたくすように毎年個展を企画し続け、ついにこんな立派な出版をしてしまったのです。 これは財力によってではなく成したという点で1990年の日本にはとても素晴らしい文化があった時代と言い伝えられるでしょう。 そしてこの作品集は時と共に輝きをますであろう松本芸術の終着ではなく出発だという点も知っておく必要があります。(実業家、詩人) An Akira Matsumoto Anthology by Tsunehisa Hiruma It may be a little reckless to try to compare the quite opposite worlds of business and art, but both consumers and producers mutually solicit and stimulate each other to enable the creation of high-quality goods and increased consumption, and the consumer enjoys the benefits. For example, the Sony Walkman personal stereo- in that case, creativity which stimulates "young people vas accomplished upon the foundation of a reliable basic technology. In that sense, the art world can be said to be similar. It is now 1990, arid contemporary Japan is prosperous to the point of gluttony. As one example, over the past 20 years the Japanese yen has appreciated 300 percent in relation to the U.S. dollar, which has- been considered the world's strongest currency. A number of corporations and even private individuals have spent huge amounts of money, billions of yen, to purchase Impressionist paintings. Although most of these purchases have undoubtedly been for investment purposes, regardless of underlying motives the result has been a flourishing art market. Or, it might be better to say, a derivative culture has resulted from that. But it is not a bad thing (although reliance on brand names demonstrates a lack of confidence). Long ago in India, the great king Kanishka, known as a protector of Buddhism, utilized the community of meek, well-disciplined Buddhist faithful as a stabilizing force among his people, and as a result Buddhist images came to be created. However, in this modern and prosperous Japan, why is it that there are still insufficient currents to encourage and stimulate the development of mutual creativity among artists and the citizenry? While it is probably true that people in general still do not have enough leisure to appreciate art, neither are the artists creating enough of a flow of artworks. By 11.ature, there is an artistic strain in the Japanese people, and there has always been a cordial tradition to nurture that. From the most modest of beginnings, great things can develop, as with the celebrated Japanese swimmer Mr. Furuhashi, whose sudden emergence and rise to world championship caliber captivated the country in the late 1940 's. I think the groundwork has already been completed for the cultural awakening of the citizenry by artists whose work has impact. What a most pleasant thing it would be if viewing art were to become a trendy activity among young people. Japan's renowned ukiyo-e woodcuts became popular and flourished when Edo (now Tokyo) enjoyed its most prosperous years. Given that context, Akira Matsumoto is one artist who has the genius and power to bring about the emergence of a 'grand era of art' in Japan. 'He walks with the physique of a young man, the likes of whom seem to have been forgotten by most people. His pictures of dogs and roosters, slender and resembling gamecocks, have the sparkle of genius and are truly gallant works of art. His art prints, which incorporate colored dots at which we may chuckle and call color-blindness test charts, are at a basic level solidly created sketches of realism, and Indeed it is because they are developed. Intensified abstract images that they touch our hearts. We readily understand why those works have won so many prizes at art exhibitions both in Japan and abroad. My first encounter with Matsumoto's art occurred ten years ago on a dull Japan Air Lines flight from London to Tokyo. I casually noted that the cover of the menu had been designed by some brilliantly talented artist, and I remember thinking that this was very important. I felt that this was a very solid, professionally done piece of work, and the colors pleased my tired eyes. Later, I made the acquaintance of Mr. Matsumoto the artist and private citizen in connection with Gallery Natsuhiko, and my favorable first impression of him has since become greatly enhanced. Firstly, in regard to his art, he is truly sincere. He always displays a combination of youthful shyness and seriousness towards his work, and this cleanses the hearts of worldly-wise adults. I think this is something really good. Well, in recent years the visible distinctions between artists and businessmen have almost disappeared. Although it is fine that artists, Iike other people, pursue prosperity, it is necessary that artists travel paths which other people do not, and if this fact is not realized, art and the artist spirit will fade away. It seems like the number of artists who, although cognizant of this fact, choose not to tread those separate artistic paths, is increasing amid the current wave of economic prosperity. The late novelist Tayama Katai once said words to the effect that it is not necessary to have a good pen to write good literature. I always think that r would prefer to be the boy who stands outside the shop, Iooking at the silver pen in the window. I think there are rather few artists who confuse a liking for art with artistic talent. but sometimes such persons are encountered. On top of that, art is originally a very subjective field ; when we see art works produced by such self-intoxicated persons, we humble appreciators of art are most disappointed to have spent our eyesight on such things. This book of art is a very rare sort of creation. One woman leading an ordinary life encountered an artist, and fulfilling a kind of lifelong dream she planned and organized annual shows of his work, and as a result this wonderful book has taken shape. The fact that this was accomplished without much financial support should convey to subsequent generations that Japan in 1990 had a magnificent culture. Finally, this volume will mark the beginning, not the completion, of Akira Matsumoto's artistic reputation, which is. destined to grow with each passing year. (Entrepreneur, Poet) |