• Xuanzang - The journey of seeking dharma - Messengers of Gaochang Castle

Xuanzang – The journey of seeking dharma – Messengers of Gaochang Castle

Two messengers of Gaochang Castle
Flame mountain is behind
Around the river Murtouk
Astana-near the tumulus (listed on the back)

Mr. Sakamoto’s words
Excerpt from “Scenery in me talked by Masanao Sakamoto-Introduction to the” Xuanzang Sanzou Houshi Journey of the Law “Exhibition”

■ “Xuanzang Sanzou Houshi Journey of the Law” is my new series. (Omitted) / I am traveling on a trip to Sanzou Houshi 1300 years ago. I see the stars and the moon where Sanzou Houshi was seen in the old days on the spot. I realized that it is connected over time. It will be the same as when Sanzou Houshi, such as Flaming Mountains, looked at it. Sanzou Houshi on horseback, who departed from Gaochang Castle, was able to see the Flaming Mountains with no trees. During the production, I woke up in the middle of the night to check the condition of the moon at that time. / And this time, Dunhuang sand is mixed with oil paint around Dunhuang, and Dunhuang sand is mixed with flame mountain.
■ Atoe, the current student of Miyazaki City, is the old village where I was born and raised. (Omitted) I was able to grow in the blessed nature of rural areas. And the scenery of the countryside clings to my heart. Wherever I went, I missed the rural scenery of this old village.
■ When I was preparing for the application for the beauty school, it was a convocation. If I hadn’t convened, I would have taken the exam, and my life might have changed. It was July 1937, 1937. When I received the telegram from my father and returned to Miyazaki, I still remember that the scenery of Furusato, which hadn’t changed at all, welcomed me.
■ The day when we, the Logistics Officer, landed after the infantry and departed, it was a wet road, and we could only move forward about one kilometer a day. I wasn’t told where to go, but I headed for Nanjing. I walked all for about a month. (Omitted) / There came a horse. It is a horse that passed in Miyakonojo. It was a horse with a habit of biting with a thin farm horse. This is the Katsuya name. (Omitted) I can’t walk anymore. Farewell to the field in the evening before arriving in Nanjing. I was stunned.
■ It was before the battle of Hankou was over and the mountain warfare began. There are a few corpses on the road, and trucks rush over them. (Omitted) The surrounding area was full of dust. We are waiting for the truck to pass, but the corpse moves off the road. It was an indescribable sight. There was such a thing.
■ The pictures of “on a transport ship” and “on a freight car” are different from the records of the war experience that I drew later. It was passive at the beginning, but when it came to “The Moon of the Creek” and “Human beings,” it depicts reflections on what I was doing on the battlefield and my psychological state becoming abnormal. People who get into that kind of situation, people who naturally get paralyzed when they go to that kind of place. / I’m drawing a mess tin, but at the same time that the rice is tableware, it represents the death of a comrade. It was decided to bake the bones and put them in the mess tin.
■ For me, broadly speaking, how and how do you draw the war series? The angle may change and the expression method may change with the times, but it is the same theme repeatedly until death. / Now, I’m thinking of a solo exhibition of the second part of the war series. If you don’t move the brush, you can’t solve it unless you paint it on the canvas. After the solo exhibition of Sanzou Houshi, I’m thinking of starting to work.
(From the fall of 1995 to the spring of 1996, I talked to Mr. Sakamoto at his home. Interviewer: Mugi Kimura)

Project Details

  • 1995-96

  • 652×1,164

  • Oil Painting, Canvas