Ⅰ. This world

 Nothing in Buddhism is not just emptiness. It’s the teaching that it’s empty because it’s dense. In Buddhism, there is a teaching that "one is all, all is one". this teaching that nothing is equal to infinity is important in understanding the origin of a world built on this relationship.

 It's a world of diverse personalities that move and spin with time. The universe, the earth, human activity and science are all governed by such laws. Each has a structure and intersects in an orderly manner. Thus, when one ordered structure crosses another, it destroys each other's structure. But on the other said, I think it compensates for each other and changes each other.

 

Think back to the Great East Japan Earthquake on March 11, 2011. On that day, nearly 20,000 people disappeared instantly due to the strong earthquake and tsunami.

 Something great force had crossed before us, and by its influence the order which was there had been broken, and a hole had been made. After that, the rest of us are still living with the remaining wounds. With a sidelong glance at the changed landscape, and in the unchanging hours, we still carry on with our habits.

 It can be said that the landscape has changed since then, and it has not.

 

I think, the same can be said of Hiroshima, which suffered a nuclear bombing on 6 August 1945. That's not all. We must see again and again the world that was destroyed in an instant and lost, and that never changed.

The drastic change that began at a shocking moment compels internal rearrangement of order, but does not change the world structure itself. This Immutability is unmistakably nothing, and it is absurdity that we must accept.

 That absurdity (That is, "one is all, all is one") is driven by a force far beyond us. We may call the power others, ourselves, or God. That may be the world itself I think.

 

 

Ⅱ. Tree as a symbol of the world

 There are trees as a symbol of the world. That called tree of the universe, or the tree of the world, covers space and time, bridges life and death, and transcends all attempts of existence to become the most noble symbol of the unity of the universe.

 In 'Introduction to Fertility and Regenerative Religion 2' Milcia Eliade describes the tree as a world axis.

“We have often found some implicit ideas in myths and legends about the tree of life. According to the idea, the tree of life is in the center of the universe, connecting the heavens with the earth and the underground.”

 I think, similar images can be seen in myths and folktales of all ages and countries."World = Tree" is not a sudden image of an individual, but can be said to be the original image incorporated into human consciousness (The archetype, as Jung said, is the lowest place below the unconscious, where the symbolic image is born). This is influenced by the unique structure of the trees, which gives a simultaneous feeling of the existence of the underground and the sky, and suggests the time and period of the water cycle.

Ⅲ. Structure of the World Tree and the Structure of Paintings

The structure of these three layers in the tree of the world, and the existence of springs that go back and forth between them, is very similar to the structure of paintings that I think.

 So, in order to explain the structure of the painting, the picture displayed is turned sideways and superimposed on the structure of the painting.

 

In this picture, there is a canvas in the area between the ground and the underground. There are mountains of stones on the ground, and the hands that grow from the underground are the hands of painters.

 In the creation, the will of the painter, the impulse to move the creation, comes from deep within the painter, but it is as dark and wet as the underground in the picture, and there is nothing.

In the upper part of the picture, there are limitless and unconstrained person, but the water that comes and goes to the underground is the water (Red arrow) that goes up from the spring through the tree and then circulates underground as rain, which is the drew image itself.

The image emitted by the painter passes through the canvas, diverges (Red Arrow 1), and then returns from the unconstrained person through the canvas. Images come back from the canvas after some time (Red Arrow 2). In this way, the image circulates through three layers like water, and the cycle makes the axis of the tree stronger.

 This is the structure of the painting I’ve in mind.

 

The world tree is a miniature imitating the structure of the world. In my opinion, the motivation for creating a miniature is to transform the inner anxiety caused by awe for a powerful world into a small one, so that we can gain a sense of perspective and peace of mind.

People make minitulars, I think, based on awe and internal anxiety caused by facing a larger world beyond humans. Perhaps the goal is to get a holistic view and reassurance by transforming a world too big for humans into a smaller one.

Well, as we have seen, if painting and the world are similar in structure, could there be the same motivation for the primitive desires that people try to create?

I think this psychological need is the fetish of human beings seeking transcendence. The fetish here is the worship of an object symbolizing a certain value, and it equates the object with the value of thought.

Ⅳ. "Painting = World"

 Thus, there are similarities between the structure of the world tree and the structure of paintings. There are layers in the structure, there are generally three layers, and there are movement through the layers.

 I would also like to emphasize that there is a binomial conflict between the underground and the sky, and between the surface and the deep within the three-layer structure, and that the intermediate part, which is the point of connection, is in contact with both of the binomial, and the binomial and the intermediate part, which includes the three layers, is a whole.

 

 That seems close to the idea of "one is all, all is one" mentioned earlier. We continue to cycle through the whole. From this consideration of the world tree, a consciousness of "World = Painting" was born in me.

 

 I would like to consider again the scale of the word world. I think the world appears everywhere.

There is a world of dialogue between people and between people and things. In other words, we can see the relationship itself as a world.

When a physical meteorologist came to my studio a while ago, he told me that observing ozone and clouds was like looking at milk in coffee.

 Maybe, it's the same for me to keep creating paintings. The artist's original image of the painting may be the world itself.

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