著者

村瀬 博春

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, pp.94-96, 2005

著者

村瀬 博春

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.54, no.3, pp.15-28, 2003

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Japanese Accomplishments such as Noh performance and Tea-ceremony are considered to be located on the final phase of development of Mahayana Buddhism in Japan based on principal scripture Lotus Sutra especially chapter on Expedient means that preaches even if infant draw image of Buddha by the wood tip on the ground capriciously, the act is regarded as meritorious deed toward enlightenment. That cultural environment cultivated artistry of Tawaraya Sotatsu's painting style which aims at stimulating transcendental wisdom by full use of fictitiousness. From this point of view Sotatsu's Wind God and Thunder God is interpreted as Vairocana and two attendants, namely Vairocana, Manjusri and Samantabhadra. According to the "Words of Lin-chi", Buddha with concrete image is a tempter who should be killed by a discipliner. Sotatsu incarnated Lin-chi's principle Zen idea perfectly by putting severed gold void in the center of the composition. Sotatsu made this work as the confession of his mind of final enlightenment. Ogata Korin issued a challenge to this work by making a copy and drawing Red and White Flowring Plum Trees which is the incarnation of the Leitmotiv of Noh drama "Eguchi" as abandonment of persistence. Through these works, Korin stated that he understood Sotatsu's profound artistic idea. This way of statement is originated in Zen Buddhism that is also the ideative Band between Tawaraya Sotatsu and Ogata Korin.

著者

村瀬 博春

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.53, no.3, 2002-12-31

著者

村瀬 博春

出版者

日本認知科学会

雑誌

認知科学 (ISSN:13417924)

巻号頁・発行日

vol.17, no.3, pp.563-571, 2010 (Released:2011-03-08)

参考文献数

16

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This article discusses how creativity appears in the composition of a painting concerning Tawaraya Sotatsu's masterpiece ‘Gods of Wind and Thunder’done in the 17th century in Edo period from viewpoint of the design thinking. The design thinking is defined as the spiral flow of dynamic idea, repeating generation of the concept and restructuring of the composition toward composing a desirable figure as a design solution. Early in the 17th century in Edo period when the painting confronted with a certain state of blockage, Sotatsu adopted the method for extracting pictorial elements from predecessors' works without making original figures. It can be thought that Sotatsu regarded creativity as making novel implication, not as making new figures. Analyzing the work, it is confirmed that novel implication appears by making the ambiguity of denying and maintaining the meaning as Gods of Wind and Thunder in hierarchy. Sotatsu's artistic policy stemmed from pursuit of the ideal category of design thinking. Thus, Sotatsu's composition is located on the development of accomplishments such as Noh performance and tea ceremony originated from Zen Buddhism in Japan at the early modern age. In the main discourse the author claims that the fundamental of the design thinking is Endo-exo circulation which is the principle of life, evolution and cognition.

著者

村瀬 博春

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.56, no.3, pp.94-96, 2005-12-31 (Released:2017-05-22)