光希まさとの徒然草「徒然草 現代篇 －玻璃の幻想」１５０

光希まさとの創造の世界へようこそ！

つれづれなるままに、硯にむかひて、心に移りゆくよしなし事を、そこはかとなく書きつくれば、あやしうこそものぐるほしけれ。

先日、都に上りて、サントリー美術館にて、我が師匠と尊敬するエミール・ガレの「憧憬のパリ」なる展覧にまみえたり。ガラスを操りし彼の御業は、まことに目を見張るものあり。

花器「マグノリア」、「茄子」、「ベロニカ」、「カトレア」、「蘭」さらには「葡萄」を描きし作、いずれも平面の世にはあらず、溶着とエングレービングの技を巧みに用い、立体的にして涼感に富みし光景は、心を奪うものなりき。

殊に写実的なる表現は、吾が目を信じ難きほどの妙技なり。ガラスを彫刻の如く操り、光をその身に宿らしむる術は、まさしく神の技と言うべし。

目に焼き付く色彩の美しさ、枝垂桜の木材を用いし装飾パネルの妙、「ひとよ茸」の灯火の優美さ、「トンボ」の杯の繊細さ、すべてが心を揺さぶりぬ。

ガレの用いし技法、溶着、エングレービングなど、その奥深き芸術の秘術に触れ、我が内にも新たなる創造の種が芽生えし思いなり。

SOMPO美術館にてはゴッホの「ひまわり」に対面し、筆の一筋一筋に宿る魂の叫びを聞きしが如し。国立西洋美術館にてはモネの瞬きし光、ロダンの彫りし石にも、時を超えて伝わる創造の炎を感じたり。

我が作るステンドグラス風の画の薄っぺらさを思い知らされ、身の未熟を恥じつつも、心は新たなる高みを目指さんと燃ゆるなり。実物を見ることなくして、真の美は語れず。自らの世界に閉じこもりては、芸術家として死するも同然なり。

玻璃の中に宿る光と色の世界は、まさに無限なり。我が「ネオジャポネスク」の道も、この経験を糧にさらなる深みを探求せん。

つれづれなるままに　光希まさと

画像の出典：サントリー美術館、SOMPO美術館、国立西洋美術館

Essays in Idleness – Modern Chapter “Phantasmagoria of Glass”

As I sit here with my inkstone, letting my brush flow freely with whatever thoughts pass through my mind, how curious it all seems.

Recently, I journeyed to the capital and visited the Suntory Museum of Art to witness the exhibition “Paris: Emile Gallé’s Aspiration,” featuring works of my master and respected Emile Gallé. His mastery over glass was truly a marvel to behold.

Flower vases “Magnolia,” “Eggplant,” “Veronica,” the orchid “Cattleya,” and the work depicting “Grapes” – none of these existed in a flat world. Using techniques of fusion and engraving with remarkable skill, these three-dimensional creations rich in cool elegance captivated my heart.

The realism of his expression was so extraordinary that I could hardly believe my eyes. The art of manipulating glass like sculpture and imbuing it with light was truly divine craftsmanship.

The burning colors in my memory, the exquisite decorative panels using weeping cherry wood, the elegant light of the “Mushroom” lamp, the delicacy of the “Dragonfly” cup – all of these stirred my soul.

Gallé’s techniques – fusion, engraving, and other profound artistic secrets – have planted new seeds of creation within me.

At the SOMPO Museum of Art, I stood before Van Gogh’s “Sunflowers,” feeling as if I could hear the soul’s cry in each stroke of the brush. At the National Museum of Western Art, I sensed the creative flame transcending time in Monet’s flickering light and Rodin’s carved stone.

I was made painfully aware of the flatness of my own stained glass-style images, and while ashamed of my immaturity, my heart burns with desire to reach new heights. Without seeing the real thing, one cannot speak of true beauty. To confine oneself to one’s own world is tantamount to death as an artist.

The world of light and color dwelling within glass is truly infinite. My path of “Neo-Japonesque” will explore greater depths with this experience as nourishment.

Written in idle moments, Masato Koki