研究・産学官民連携 Research

Spatial Concept of KAKIWARI in Japanese Paintings

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Recent Studies at Faculty of Design

Spatial Concept of KAKIWARI in Japanese Paintings

Department of Design Futures, Faculty of Design
Assistant Professor NAKAMURA Kyoko

I am a Japanese painting artist, and through the own artwork, I ask the question of what creativity is on a meta-level, to become my paintings become a device for decoding creativity. It can be said that the decoding quest for creativity is doubled in the individual creative act, that is my style of research and artwork [1].

■The Outside Summoned by KAKIWARI

In my 2018 book, I discovered a unique spatial expression found in ancient Japanese paintings, which I called "Kakiwari" of the stage backdrop device [2]. Kakiwari has no back side world. In other words, the representation of a mountain range landscape as a series of planes actively indicates that there is no possible over side (other side) that corresponds to this side. Kakiwari is not concerned with the concept of near or far as perspective, but with the outside which we cannot perceive but exists. How to summon the outside is the key to the act of creation, and Kakiwari is one concrete way of creativity. Since then, I have been working and theorizing various cases in which we can find structures that decolorize existing correspondences as Kakiwari structures [3,4,5,6].

■People also become KAKIAWRI

Recently, I had a solo exhibition at the Suwa City Museum of Art, where I presented about 30 works, including a four fold screen that expressed "Onbashira", four sacred pillars in the Suwa region, as Kakiwari poles (Fig. 1). I have also developed into the concept of humans becoming Kakiwari, and have been working on the subject of Kakiwari structures found in the lost peoples of southernmost Chile, Chilean animitas, and Japanese tumulus, showing their relationship to the theories of Charles Fourier and Yukio-Pegio Gunji [7,8] (Fig. 2, 3, 4).

(Fig. 1) Kyoko Nakamura “Onbashira Zu-e Screen”, four-fold screen, color on silk, 185×306 cm, the pillar of the shrine forest; the pillar of the city; the pillar of the ghost (a geyser near Lake Suwa that is appears and disappears); and the pillar of the rocks, paintings each 145×55.5 cm, 2019, painting mounted by Sogado, Tokyo, Japan. Photo from Solo Exhibition of Kyoko Nakamura’s Japanese Paintings: “Onbashira Decreated” at the Suwa City Museum of Art, 2022.

(Fig. 2) Kyoko Nakamura “Kakiwari girls” a set of four hanging scrolls, color on silk, hanging scroll, each 84.5×30 cm, 2020-21, painting mounted by Sogado, Tokyo, Japan.

(Fig. 3) Kyoko Nakamura “Tumulus Cicada”, series of Anti-Tumulus, hanging scrolls, color on silk, 123.5×40.5 cm, 2021, painting mounted by Sogado, Tokyo, Japan.

(Fig. 4) Kyoko Nakamura “Hanging ridge of Taburegokoro”, series of Anti-Tumulus, hanging scrolls, color on silk, 123.5×40.5 cm, 2022, painting mounted by Sogado, Tokyo, Japan.

References

[1] Nakamura, K.; Gunji, Y.P. Entanglement of Art Coefficient, or Creativity. Found. Sci. 2020, 25, 247–257, doi:10.1007/s10699-019-09586-8.

[2] Nakamura, K.; Gunji, Y.P. Tankuri: Shooting Creativity; Suiseisha: Tokyo, Japan, 2018. (In Japanese)

[3] Nakamura, K.; Gunji, Y.P. Painted Board Girls as the Device towards De-creation. Cocreationology 2020, 2, 1–12. Available online: https://nihon-kyousou.jp/cocreationology/vol2_no1/Cocreationology_2-1-1.pdf (accessed on 1 December 2020). (In Japanese)

[4] Nakamura, K (2021). De-Creation in Japanese Painting: Materialization of Thoroughly Passive Attitude, MDPI, Philosophies 6(2), 35; doi.org/10.3390/philosophies6020035

[5] Gunji, Y. P. & Nakamura, K. (2022). Kakiwari: The device summoning creativity in art and cognition, In: Unconventional Computing, Philosophies and Art (Adamatzky, A. ed.) World Scientific, pp.135-168

[6] Nakamura, K. Kakiwari no Mi wo Uguisu, Mugenshō no Kōfuku (The sorrow of body as a painted board "Kakiwari", is the happiness infinitesimal small). In Affectus: Sei no Sotogawa ni Fureru (Touching the Outside of the Life); Nishii, R., Yanai, T., Eds.; Kyoto University Press: Kyoto, Japan, 2020, pp. 8–40. (In Japanese)

[7] Nakamura, K. (2019). L’archibras se relève, Les Presses du réel, Cahiers Charles Fourier n° 30: pp.23-36, pp.91-94

[8] Nakamura, K. (2021). In front of the snake, both the frog and I were human beings: "Choju-giga" as seen through Fourier's concept of infinity, Eureka April Special Issue, 53-4: pp.290-296, Seidosha Publishing Co.

Website: http://www.kyokonakamura.jp/english.html
YouTube channel: https://www.youtube.com/channel/UCOxgCJwk30cQubG0T-XtxKQ

■Contact

Department of Design Futures, Faculty of Design
Assistant Professor NAKAMURA Kyoko