beyond : HIROKO ONOGI INKPAINTING (Japanese Edition)

墨一色の伝統的な水墨画と違って、色彩をふんだんに使った鮮やかさと軽快さ。描くテーマが具象にとらわれない。画くことによって無意識の中にダイビングし、そこからこころのフィルターを通してイメージが現われ出る、具象でもなく抽象でもない心象の世界。離れてみてれば一つの作品。近づくと無限にひろがるミクロの山水との出会い。「beyond」という題名に込められた意味。それは、現代に生きる私たち自身を越えて西洋でも東洋でもない、現代の水墨画としての芸術性の追求。あたまにイメージしたものを形にするのではなく、むしろ墨と水という偶然の出会いの中で、思いもよらない世界を創造していく心象の意外性とユーモア感。東方の古典的な音律を感じさせながら、それでいて極めて現代的な感覚をあわせ持っている。 筆の動きによって大自然を収めとり、紙という世界に宇宙を引き寄せてくるような大きなエネルギーに満ち溢れている。大自然に由来するものであり、生命の力が息づいていて、まるで自然界の音の響きを感じさせる。作品は作者の心の中からそのまま溢れ出た結晶であり、鑑賞するものの想像力を大いに刺激して、もう一度作品を創りあげていくような楽しみを与えてくれる。Unlike traditional ink painting, which uses only black ink, this painting is vivid and light, with plenty of color.The theme of her paintings is not limited to figurative representation. By painting, she dives into the unconscious, and images emerge through the filter of her mind, creating a world that is neither concrete nor abstract.From a distance, it is a single work of art. When you get closer, it is an encounter with the infinitely expanding microscopic landscape.The meaning behind the title “beyond. It is the pursuit of artistry as a contemporary ink painting that is neither Western nor Eastern, but rather transcends our contemporary existence. Rather than giving form to an image in one's mind, the artist creates an unexpected world in a chance encounter between ink and water, with a sense of humor and the unexpectedness of mental images.The artist's work evokes the classical tonalities of the East, while at the same time possessing an extremely modern sensibility. The brush strokes capture nature and are filled with a great energy that seems to draw the universe into the world of paper. The work is derived from Mother Nature, and is imbued with the power of life and the sounds of the natural world. The works are the crystallization of the artist's mind, and they stimulate the imagination of the viewer, giving him or her the pleasure of creating the work once again.Translated with DeepL.com (free version)■作者プロフィール小野木裕子(おのぎひろこ)徳島市生まれ。３歳のときから、佐野比呂志について水彩画を習い始め、その後京都真如堂の画僧、齋藤眞成氏に油絵を師事する。 同志社大学において美術史を学び、同大学院において考古学者森浩一氏の薫陶を受ける。１９８８年より3年間、中国考古学および中国陶磁史の研究のため、中国政府の国費よる研究生として、中国北京大学考古系に留学。宿白教授の指導を受ける。その間、中国各地の遺跡や博物館を訪れ、文化財や美術品を調査研究する。帰国後同大学院博士課程後期単位取得退学。その後福岡市にて中国北宗水墨画家、馬星華氏と出会い水墨画に転向し、水墨画の基礎を学び、制作を開始する。現在福岡市在住。■Author ProfileHiroko OnogiBorn in Tokushima City, Onogi began studying watercolor painting at the age of three with Hiroshi Sano, and later studied oil painting under Shinsei Saito, a Buddhist monk at Shinnyo-do temple in Kyoto. She studied art history at Doshisha University and received training from archaeologist Koichi Mori at the graduate school of Doshisha University, and studied Chinese archaeology and the history of Chinese ceramics for three years from 1988 at the Department of Archaeology, Peking University, Beijing, China, as a research student funded by the Chinese government. She was under the guidance of Professor Su Bai. During this period, she visited archaeological sites and museums throughout China to research and study cultural properties and art objects. After returning to Japan, she withdrew from the doctoral program of the same university. After that, in Fukuoka City, she met Mr. Ma Xinghua, a Chinese ink painting artist, and switched to ink painting, learning the basics of ink painting and starting her own work. Currently resides in Fukuoka City. Read more