大曽根俊輔   動物の乾漆彫刻
Shunsuke Osone Exhibition ：  Animals, Dry lacquer sculptures

この度ギャラリー石榴では、東京・南青山、続けて長野県・松本市のギャラリーにて、彫刻家・大曽根俊輔による、動物の乾漆彫刻展を開催いたします。

大曽根俊輔（1978年神奈川県生まれ）は、2002年に武蔵野美術大学・工芸工業デザイン学科を卒業し、 2004年に東京藝術大学大学院・文化財保存学専攻を修了した後、美術院 国宝修理所にて文化財修復の仕事に11年間従事しました。 修復を通じ、時代を越えた名だたる古仏とじかに触れあってきた経験は、技法と感覚の両面で現在の創作のベースをなしています。

乾漆像は、原型の上に麻布を着せ、漆で固めて外形を作ったのち、 木屎漆（こくそうるし：木くずを漆と小麦粉で混ぜて練り合わせたもの）で表面を調整し、彩色を施す工程を繰り返しながら生まれていきます。 よく知られたものに興福寺の阿修羅像などがあり、奈良時代（710-784年）の仏像制作に多く用いられたアジア固有の技法です。 しかし、歴史的には平安時代に入ると、手間と費用のかかるこの技法は、主要な仏像制作の技法としてはほとんど姿を消してしまい、その後、再び盛んになることはありませんでした。

大曽根作品の特徴のひとつは、この乾漆技法を、動物たちが持つ肌合い、体温、湿り気、肉感など、 種ごとに決して一様ではない生き物特有の質感に生かしていく点にあります。 また作家は乾漆の2種の技法、「脱活乾漆」と「木心乾漆」の使い分けをモチーフごと行っています。 （※粘土などの原型に麻布を着せた後、原型を取り出し、内部に補強の木枠を組み入れるのが「脱活乾漆」。 像のおよその形を木で作るのが「木心乾漆」。どちらともその後、木屎漆で細かい仕上げをしていく点は共通。） それは単にリアルであることを超えて、それぞれの動物が持つ個性や、ふとした瞬間の得も言われぬたたずまいによって、際立った存在感を放ちます。

この度発表される新作4点はいずれも木心乾漆で、作家がミニ豚の"チャコ"、ホルスタインの"黒光（こっこう）"といった実在する動物と出会い、 繰り返し彼らのもとに足を運びながら、言葉なき取材を重ねるなかで生まれています。 見る人はそこに、図鑑などに並ぶ類型的な図像からは与えられることのない、思いがけない表情、思いがけない姿態に新鮮な驚きと美しさを見いだすことでしょう。 いわば固有名を持った動物たちの、ポートレイトとしての乾漆彫刻の世界を、旧作を含む8点を通して展覧します。 この機会にぜひご高覧ください。

Gallery Sekiryu is please to present an exhibition of animal sculptures using dry lacquer technique by Shunsuke Osone at the gallery in Minami Aoyama, Tokyo, from April 6 to 21 and then in Matsumoto City, Nagano Prefecture from May 11 to 26. Shunsuke Osone (born in Kanagawa Prefecture, 1978) graduated from Department of Industrial, Interior and Craft Design, Musashino Art University in 2002, and took masters course of Cultural Properties Preservation, Tokyo University of the Arts in 2004. He was involved with the Institute of Fine Arts National Treasure Repair Center in Kyoto for 11 years, devoted himself into restoration of national treasures. In terms of both technique and sense, Osone's creation is based on what he has done as a restorer touching and researching the timeless ancient Buddha statues for many years.

Japanese dry lacquer technique statue (kanshitsu-zo) is made by putting a hemp cloth on the original form and solidifying it with Japanese lacquer (urushi) to make an external form, then adjusting the surface with a mixture of wooden powder, "urushi" lacquer and flour (a thick paste called kokuso lacquer), and coloring it, repeating this process again and again. One of the most well-known works made using dry lacquer technique is the Asura statue at Kofuku-ji, which is an Asian-specific technique often used to create Buddha statues during the Nara period (710-784). However, historically, in the Heian period (794-1192), this time-consuming and expensive technique had almost disappeared as a major technique for making Buddha statues, and has never been revived thereafter. However, Osone has revived this technique for making his sculptures.

Osone brings Japanese lacquer technique to portray unique characteristics of animals, and we can feel its texture, temperature, moisture, and even a touch of flesh. Osone uses two types of dry lacquer technique depending on the motifs that he wants to make. One is the hollow dry lacquer method (dakkatsu kanshitsu)* and the other is the wood-core dry lacquer method (mokushin kanshitsu)**. * The hollow dry lacquer method: putting layers of hemp soaked with lacquer on a rough core of clay, and then removing the core. A wooden frame reinforces the statue inside to prevent warping. ** The wood-core dry lacquer method: carving the basic shape of the statue from wood. Kokuso lacquer is common for both methods to make details for finishing. His works are more than realistic. We even unexpectedly realize the strong presence and characteristics of each animal.

The 4 new works to be shown are all made using wooden-core dry lacquer. Osone repeatedly visited places to see the models, which are all existing animals, such as a mini-pig, "Chaco" and a Holstein "Kokkou ". So many wordless meetings with the animals enabled him to achieve these remarkably beautiful sculptures. Their facial expressions and poses are unexpected for viewers, because they are totally different from typical images which we see in illustrated books. By introducing 8 works, including 4 new works, the exhibition aims to showcase a world of dry lacquer sculptures as portraits of animals with their own unique names. We do hope you find the opportunity to see and enjoy them.

オープニングレセプション

会場 ： ギャラリー石榴 南青山Room
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日時 ： 4.6(土) 17:00-19:00

※4月6日、7日は作家が在廊します

Opening Reception

Venue ： Gallery Sekiryu Minami-Aoyama Room
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Date and Time ： 4.6(sat) 17:00-19:00

※The artist will be present on April 6 and 7.