The story of Kyokushi Village

制作年份: 2022

材料或技法: 石头, 大理石, 玻璃, 金叶子, 水泥, 控制板

尺寸: 89 × 89 cm

版本: 独特

签名:包括

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1 我的最爱
The story of Kyokushi Village

关于作品

制作年份
2022
材料或技法
石头, 大理石, 玻璃, 金叶子, 水泥, 控制板
尺寸
89 × 89 cm
版本
独特
签名
包括
画框
不包含
作品证书
没有设置
类别
壁画
风格
社会/政治/历史, 浪漫的

作品详情

Concept and Intention of the Artwork

I created it with the motif of a traditional group handed down in the former Kyokushi village in Kumamoto prefecture where I spent my childhood. Kyokushi Village is a village where my father's parents' house is located, and I myself lived in during my childhood. It's a village with a good view, with a large field spread out, but I learned that there are many stories in that land, so I made it into a work.

(Center of screen) Onibi-taki is a traditional event that means to ward off evil.

(Right side of the screen) There was a land called Yunoyama where hot springs that are effective against all diseases spring up. At one point, a strange monk came there and put something like a cow's head in hot water and cast a spell, and something like that cow's head sprang out briskly somewhere. Then, the hot springs that had sprung up in Mount Yunoyama withered away, and hot springs sprang up in the distant city of Yamaga instead.

(Bottom of screen) There is a story about a large pond for irrigation at an altitude of 200m in the southeast of Yubune village. At one point, three villages at the foot of the mountain gathered and decided to build a large reservoir for paddy field irrigation. However, construction did not go well, and every time during the rainy season, the embankment collapsed due to rising water, and the Yubune village was flooded. It is said that people who have done their work finally decided to set up a human pillar, but they had trouble selecting people, and they had no choice but to divert the method used when selecting human pillars in the nearby coastal area and chose those who had torn kimonos covered with horizontal stripes of cloth. The person selected was the leader of the 10-person group (autonomous organization). The group leader stood at a crack in the embankment as a human pillar, covered it with soil while praying for completion of construction, and buried it.

(Left side of the picture) There was a wealthy man with 1,000 servants and 5,000 hectares of farmland. He tried to finish planting rice in that vast field in one day, but he couldn't finish in time and the sun started to set. So he lined up some of his strongest men at the edge of the field, gave them golden fans and had them fan the sun back up to a high place. He tried to finish planting rice before the sun went down again, but the men were exhausted and the sun finally set. So he spread oil on a nearby hill and set it on fire, and finished planting rice by light, but the embers turned into a fireball and burned down the wealthy man's house and storehouse. It is said that this fireball was the curse of a giant snake that lived on the hill that the wealthy man had set on fire.

Cited from:旭志村史

Exhibition View

艺术家

Yamadakazuki
✔︎

Yamadakazuki

马赛克艺术家

职业生涯 1995 出生于熊本 2020 毕业于东京艺术大学美术系油画系 2023 毕业于东京艺术大学研究生院美术系绘画系壁画 2023 Pola Art Foundation 意大利海外见习生 2024 Accademia di Belle Arti Ravenna 他毕业于东京艺术大学,主修油画,并在同一所大学研究生院的壁画第二实验室学习马赛克表情。毕业后,她在拉文纳美术学院接受了马赛克培训,成为波拉艺术促进基金会的海外实习生。他学习了拉文纳的传统马赛克技术,目前正在寻找马赛克的更多表现形式。 暑假期间,我以三年级本科生的身份第一次住校。我之所以搜索,是因为我想用只能在这片土地上画的东西,当我搜索时,我遇到了那片土地的传说、传统和习俗。从那时起,风景就不只是一幅风景,我开始有一种特别的感觉。这种风景只有扎根于那片土地的人才是特别的,它是通过学习传统和习俗传给我的。经历了这样的经历之后,我开始想把流传下来的东西记录成字母,把文字记录成图片。 当我还是本科生时,我主要是用油画寻找表情,但加入壁画实验室2之后,我开始测试用马赛克录音。当时的神话和习俗被描绘在马赛克上,这些马赛克是在古代制作的,至今仍是重要的文化资产。我与这些马赛克的相遇使我有机会决定自己想用什么材料来表达长期以来流传下来的图案。此外,马赛克的 “低分辨率” 特征非常适合表达稍微脱离现实的故事。 由于大理石和玻璃用于制作马赛克,因此它们非常耐用,如果状况良好,它们可以持续使用1000年或更长时间。我认为马赛克是一种媒介,它可以实现将地区传统从过去传承到未来的动机传承下去。 故事和习俗与人们生活的地方一样多,但现实是,它们已经过时了,随着时间的推移而消失。我想知道仍然存在的故事,并以一种在消失之前可以被视为马赛克的形式保留人与土地之间的特殊关系。这些作品是我走过那片土地的标志,它们很可能会成为我自己的唱片。

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最后更新日期
2024.08.02