村岡貴美男『秘儀荘』
 Design：島田耕希 編集：功刀知子 協力：如月美術／有限会社木本同人社 発行：赤々舎 Size： H285mm × W210mm Page：236 pages Binding：Hardtcover Published in June 2022 ISBN：978-4-86541-143-0 |
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About Book
秘められた物語や時間の積層。「日本画」を超える日本画家、待望の初作品集。
Villa of the Mysteries
Kimio Muraoka
From his long-awaited entrance to the Tokyo University of the Arts to the completion of his PhD, Muraoka pursued his creation and nothing else for nine years. One day during that period he had a shocking encounter - with a photobook of Pompeii, and with the Villa of the Mysteries.
"Today I am aware that my work tends to towards expression in reds, but I was originally fond of blue gray and green gray. After I began to practice Japanese painting and saw mineral pigments, I became moved by shades of red - in particular the bitter and vivid shades of burnt sienna, which has a primitive feel that shakes and excites my heart. It symbolizes earth, blood, life, and fire, as well as a sense of sensuality. The color of the mural in Pompeii was this very burnt sienna shade. The moment I saw that red I was awakened to something new. From that moment on the color has been imprinted deep in my consciousness."
Nine years later, Muraoka actually visited Pompeii.
"The atmosphere inside the villa, with its dim cool air, silent and without tourists, and the world outside it, bathed in strong sunlight, with a chorus of birds, was something I could not receive just from a book. That was when I realized that the Villa of the Mysteries was not just an object of art but an architectural space and a historical ruin. The volcanic ash protected the surface of the mural, strangely concealing its history, and at the same time conveying the accumulation of an overwhelming period of time. I did not understand the content or intentions of what was painted there accurately.
In fact, I don't even know who painted it. I just looked at it and was touched by it. I believe the mural in Pompeii taught me what painting should be, and brought me back to my pure self."
Regardless of place and time, there are many artifacts that inspire Muraoka: Klimt, Romanesque sculpture in Toulouse, La Dame à la licorne ('The Lady and the Uni- corn'), the Bayeux Tapestry, Tatsuo Takayama, the Rimpa school, the statue of Ashura in Kofukuji and so on. However, the Villa of the Mysteries in Pompeii holds a special place in his heart, and continues to resonate through his work like thoroughbass.[...]
"If people say that what I do is not Japanese painting and therefore I am not a Japanese painting artist, then I am fine with not being one. Finding the landscape I want to see is the most important point, not being a Japanese painting artist. I will not stop creating with my own hands, nor discard painting subjects. It is not that I am trying to express with eccentricity, but that I am finding what I want to see and calculating back to the material I need to express it. That is all I want to do."
Technology progresses inexorably, but will humans entrust everything to it? As things are processed more efficiently and simply, the human hand may at the same time be drawn towards the chaotic, the unreasonable and the mysterious.
For Muraoka, 'questioning' and 'exploring' are probably synonymous. Upon the foundation of the moving moment he experienced in Pompeii, he will continue in his belief that art in its purist sense should stimulate joy and wonder and, transcending genres, he will question the purpose of art and its exploration.
Extracted from the text 《Questioning, while exploring his world 》
Tomoko Kunugi Representative of Ishin-Denshin
在步入夢寐以求的東京藝術大學後，從本科到博士的九年間，村岡貴美男一
直埋首於創作之中。在這期間，他經歷了一次衝擊性的體驗。那是在書店見到的
一本龐貝古城攝影集，封面上秘儀莊的照片讓他深受震撼。
"雖然現在的作品給人以紅色的印象，但我原本喜歡的其實是灰藍、灰綠這 類色彩。自從開始畫日本畫、接觸到岩彩後，我被紅色系顏料的美深深打動了。 尤其是雅緻、色彩鮮明的赭石色系，有著直擊心靈的原始感，令人心潮澎湃。它 代表了泥土、血液、生命、火，備極絢爛。秘儀莊壁畫的顏色，正是那種赭石。 在看到那種紅褐色的瞬間，我內心中有某種東西覺醒了。自那之後，那個顏色就 深深印刻在了我的深層意識中。"
九年後，村岡實際造訪了龐貝城。
"昏暗冷徹的空氣，空無遊客的寂靜，外面耀眼的陽光和小鳥的鳴囀，都是 從攝影集中無法感受到的。此时，我第一次体会到秘儀莊壁畫是作为 '建築的一 部分' 的 '遺跡'，而非 '繪畫'。火山灰奇跡般的保護了畫面，將歷史封存，與此 同時，我感受到了撲面而來的層層積累的時間。我無法準確理解畫面的內容和意 圖，也不知道作者是誰。觀看帶給我的只有無限感動。那時，我仿佛從龐貝壁畫 中學到了繪畫的本質，尋回了自己的初心。"
克利姆特、圖盧茲的羅馬式雕塑、《貴婦人與獨角獸》掛毯、《貝葉掛毯》 (也稱《瑪蒂爾達女王掛毯》)、高山辰雄(受到高更影響後的作品)、興福寺的阿修羅像、《蒙娜麗莎》等等，無論古今東西，影響了村岡貴美男的作品不在少數。 但其中，龐貝古城的《秘儀莊》是特別的存在，從早期直至現在，它是貫穿了村岡作品的一抹底色。（中略）
"如果有人認為你的創作不是日本畫，那也不要緊。重要的是尋找到自己想看的風景，是否是日本畫並不重要。我希望堅持親手製作作品，也不想放棄描繪對象。我並非追求奇異的表現，而是為了展現自己想看到的世界，使用任何所必需的素材，這是我想要一直做下去的事。"
科技日新月異，但人類是否應該完全委身於其中?雖然事物愈發合理化、简明化，但同時，人類也仍然會被混沌之物與未解之事、被充滿謎團的世界所吸引。
想必村岡的探求之路也正是如此。從在龐貝秘儀莊獲得的感動出發，相信藝 術擁有能予人喜悅和驚奇的原始力量，今後，村岡貴美男將繼續以跨界的姿態， 孜孜於對藝術的探問和求索。
"問中求道的世界"
功刀知子(以心傳心 代表)
Artist Information
村岡貴美男
1966年 京都府生まれ。
1995年 東京藝術大学美術学部絵画科日本画専攻 卒業
1997年 卒業制作 台東区買上 東京藝術大学大学院美術研究科修士課程絵画専攻日本画研究分野 修了(芸術学修士) 修了制作 東京藝大買上
再興第82回院展 初入選、以降毎年出品(東京都美術館)
1998年 第53回春の院展 初入選、以降毎年出品(日本橋三越本店)
2000年 東京藝術大学大学院博士後期課程研究発表展(東京藝術大学陳列館)
東京藝術大学大学院美術研究科博士後期課程美術専攻日本画研究領域 単位修得退学
修了制作 東京藝大収蔵
東京藝術大学美術学部日本画研究室 非常勤助手
2005年 東京藝術大学美術学部日本画研究室 非常勤講師
2009年 東京藝術大学美術学部日本画研究室 助教
2012年 東京藝術大学美術学部日本画研究室 非常勤講師
2014年 日本美術院同人推挙
2016年 女子美術大学芸術学部非常勤講師(日本画専攻)
2019年 女子美術大学芸術学部特任教授(日本画専攻)
現在、日本美術院同人、女子美術大学芸術学部特任教授
個展
1996年 台東区長賞展(浅草公会堂)
1998年 レスポワール「村岡貴美男展」(銀座スルガ台画廊)
1999年 村岡貴美男展(ぎゃらりぃ朋)
2006年 更生保護表紙絵展(ナカジマアート)
2009年 11の箱(ナカジマアート)
2010年 第18回東美特別展/軸・屏風の末裔(東京美術倶楽部、山下画廊ブース)
2010年 軸・屏風の末裔(山下画廊)
2011年 面 -おもて-(ナカジマアート)
2011年 『ともしび』表紙絵展(ナカジマアート)
2013年 時間牢(ナカジマアート)
2014年 アートフェア東京 2014 /閉じた時間、記憶のかたち(東京国際フォーラム、山下画廊ブース)
2014年 閉じた時間、記憶のかたち(山下画廊)
2014年 村岡貴美男 Drawing 展/技法・素材-あそび-(ナカジマアート)
2016年 閉架図書室(ナカジマアート)
2017年 エニグマの肖像(天満屋 岡山本店、天満屋 福山店、広島八丁堀ビル、天満屋 米子店)
2018年 心象の庭、心象の部屋(西武池袋店)
2019年 まじないの動物(ナカジマアート)、幻視 / 残像の風景(神戸阪急)
2021年 記憶のかたち、かたちの記憶 (日本橋三越本店)
【買上】東京藝術大学、台東区、江戸川学園、康燿堂美術館、帝京大学、足立美術館、小津和紙、寛永寺
【収蔵】東京藝術大学、ベネトン
Kimio Muraoka
1966 Born in Kyoto Prefecture
1995 Graduated from the Japanese Painting Course at the Department of Painting, Faculty of Fine Arts, Tokyo University of the Arts / Graduation project was purchased by Taito City
1997 Completed the Japanese Painting Course at the Graduate School of Fine Arts (Master of Fine Arts)
Graduation project was purchased by Tokyo University of the Arts
Selected for INTEN - The 82nd Exhibition of the Japan Art Institute for the first time. Submitted every year thereafter. (Tokyo Metropolitan Art Museum)
1998 Selected for INTEN - The 53rd Spring Exhibition of the Japan Art Institute for the first time. Submitted every year thereafter. (Mitsukoshi Nihombashi)
2000 Tokyo University of the Arts Doctoral Program Research Presentation and Exhibition (Chinretsukan Gallery, Tokyo University of the Arts)
Withdrawal upon completion of course requirements from the Doctoral Program in Fine Arts (Japanese Painting)
Graduation project was added to the collection of the Tokyo University of the Arts
Part-time Research Associate at the Japanese Painting Lab, Faculty of Fine Arts, Tokyo University of the Arts
2005 Part-time Lecturer at the Japanese Painting Lab, Faculty of Fine Arts, Tokyo University of the Arts
2009 Assistant Professor at the Japanese Painting Lab, Faculty of Fine Arts, Tokyo University of the Arts
2012 Part-time Lecturer at the Japanese Painting Lab, Faculty of Fine Arts, Tokyo University of the Arts
2014 Recommended as a member of the Japan Art Institute
2016 Part-time Lecturer at the Department of Fine Arts, Joshibi University of Art and Design (Japanese Painting Course)
2019 Project Professor at the Department of Fine Arts, Joshibi University of Art and Design (Japanese Painting Course)
Currently a member of the Japan Art Institute and Project Professor at the Department of Fine Arts, Joshibi University of Art and Design
Solo exhibitions
1996 Taito City Mayor Awards (Asakusa Public Hall)
1998 L'espoir Kimio Muraoka Exhibition (Ginza Surugadai Gallery)
1999 Kimio Muraoka Exhibition (Gallery Tomo)
2006 Rehabilitation Aid Cover Art Exhibition (Nakajima Art)
2009 11 Boxes (Nakajima Art)
2010 18th Tobi Art Fair - Descendants of Hanging Scrolls and Folding Screens (Tokyo Art Club, Gallery Yamashita Booth)
2010 Descendants of Hanging Scrolls and Folding Screens (Gallery Yamashita)
2011 Face (Nakajima Art)
2011 Tomoshibi Cover Art Exhibition (Nakajima Art)
2013 Cage of Time (Nakajima Art)
2014 Art Fair Tokyo 2014 - Closed Time, Shape of Memory (Tokyo International Forum, Gallery Yamashita Booth)
2014 Closed Time, Shape of Memory (Gallery Yamashita)
2014 Kimio Muraoka Drawing Exhibition - The Play of Technique and Material (Nakajima Art)
2016 Closed-Stack Library (Nakajima Art)
2017 The Portrait of Enigma (Tenmaya Okayama, Tenmaya Fukuyama, Hiroshima Hatchobori Building, Tenmaya Yonago)
2018 Imaginary Garden, Imaginary Room (Seibu Ikebukuro)
2019 Magical Animals (Nakajima Art)
2019 Landscape of Illusions/Afterimages (Hankyu Kobe)
2021 Shape of Memory, Memory of Shapes (Mitsukoshi Nihombashi)
[Works purchased by]
Tokyo University of the Arts, Taito City, Edogawa Institute of Education, Koyodo Museum of Art, Teikyo University, Adachi Museum of Art, Ozu Washi, Kan'ei-ji
[Permanent collections]
Tokyo University of the Arts, Benetton
