Objective grows up to Subjective

Yukio Yashiro observes that Davinci and Asian artists demonstrate the same metaphysical mind on their works. He told "There is something abundant of humanity in Davinci"He mentions the inevitablity of contingency beyond the art works. After the long and deep thought of natularism, you can achive the exchange between objective and subjective.


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Born: Tokyo, Feb. 1th 1968

Atelier: "Shokido", Nihonbashi, Tokyo


Ph.D.   Kochi Institute of Technology
MBA   Goizueta Buisiness School at Emory University, Atlanta, Georgia
BA      Waseda University


The beauty is what? It is a flash back of memories. Memories reflects your expierience. Where is the eternal beauty? If there is, it must be in Nature. You have seen the green wood under the blue sky and the yellow sunshine in billions of years. The memory of Nature sustains what it was and is in the brain. There must be forgotten memories. Those hidden memories, however, might take you prompy scene.

Art needs communication. Not everybody, however, has plenty of sense to appriciate. My works tries to stink a passive brain and pull the beautiful flash back out behind.


A marginal imcubents innovation. The integration generates the future. Having hung around science and art, buisiness and art or western and eastern culture, the right and left brain works well to spin images on paper.

Sumi-e Art Initiative:

Buisiness leaders use intuition on decision making. Sumi-e drawing forces intuition as well. The intuition occurs only on your memories in the brain. Winners takes all in history. The golden thumb rule for victory is to keep forwarding until you win.

Atlier: Shokido, 2-10-16 Akasaka Square Bldg. 4th floor-A, Akasaka, Minatoku, Tokyo, Japan 1070052 Phone: +81 3 5549 4404

■水墨画家 志村一隆 略歴■

50ヶ国以上を旅した後、アメリカジョージア州アトランタのエモリー大学ゴイズエタビジネススクールで、MBAを取得。高知工科大学基盤工学科起業家コースで、博士号を取得。2001年(株)ケータイWOWOWを設立、代表取締役に就任。現在、アトリエ嘯氣堂を赤坂に構え、創作活動を行っている。また、Japonism Art Innovationイベント、SEEDS Tokyo Impactを隔月開催、人気を博している。









連絡先: 嘯氣堂 港区赤坂2-10-16 赤坂スクエアビル4F-A

メール: zutaka [ at ] yahoo.co.jp

Suibokuga/Sumi-e is what?

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Leonardo daVinci’s classic icon “Mona Lisa” has no outline. Why? The answer is his words, "Every single thing reincarnates."A 13th century Japanse philosopher, Chomei Kamo said a famous phrase in "Hojouki", "Water keeps rolling, no water stays there". Water is not ejectable. Associated with the container, water changes its shape. He painted the fascinated woman’s figure with his unique sfmato technique. The contour of the object is fading off just into the beginning of another object line. The outline of “Mona Lisa” dissolves into the river painted around the figure. If he metaphorically painted water for something, the Monalisa shape is a container. The painting embodies an image(Midori Wakakuwa). The sense of evanescent expressed by acient Japanese monks stands out no more than Davinci held "the splash of fertile humanity(Sachio Yashiro)". The abundant humanity out of the expierience, however, would keep him in the marginal area. I have not met the intiment

In suibokuga, or sumi-e painting, you will not draw the line. Yet, the thirteen centuries Sumi-e painters drew the line so do the twenty one century’s manga, comics. Professor Tadashi Kobayashi pointed out that in sixteenth century, the line grew to be area form which Professor Kobayashi calls "a mask line". The gifted painter like Sotatsu Tawaraya used baggy thick stroke to express object like a green bean. One thick stroke would become one green bean itself. The other important point Professor Kobayashi told is that Sotatsu would never try the "stereo-painting" effect. Like ukiyo-e or Takashi Murakami’s Super Flat concept, Sotatsu simplified the shade and light and showed two-dimensonal expression. Davinci tried to show the realistic shape on canvas by sfmato technique. Davinci and Sotatsu tried to dissolve the outline on their artwork. However, they achieved an opponent approach in terms of their aim. In short, Japanese sumi-e painters simplified object and Davinci tried get it real on canvas.

I moved on suibokuga, or sumi-e, not because of Japanese proud "simplified" art, but "stereo-painting", the cubical technique with one simple stroke. The modern sumi-e has acquired the historical progress, with which it apparted from the flat expression. It appears a cubic expression on the paper. The light, shade and shape eject with one stroke.

The sfmato technique of sumi-e is achieved by water perspiration. The edge of the shape remains in vague by an uncontrollably water dynamism. This is the sumi-e painters’ humbleness and the reflection of the respect for the nature. “Logos” of Helakureitos, “Idea” of Pluto, the Substance in the ontology, Suibokuga painters express the hidden Substance out of vague edge line with water and black ink.

The edge line of black ink exists the end of water perspiration area. Painters reconstruct their recognition. In epistemology, the truth and belief has difference. Painters usually end drawing where they believe that the shape of the object ends. But in Suibokuga, painters can not control the edge line of the shape because of the water perspiration. Therefore, water move exposures the hidden truth of recognition of the existence, the substance of the un-recognition. That is, they see the Mu, whereas to non being. Where the Mu exists in suibokuga works? You can see it in the blanc on paper. Qualia is born.

Drawing is the expression of artists. However, suibokuga paiters emboss the substance of Mu by retaining blanc part on paper. What is the Mu in suibokuga art? That is emotion. The emotion is quivering between the painter and the watcher. Mu is deliberative and intention.

Without the attention, can the art be Mu? That is Kyo, hollow, vacant. Kyo exists all around the nature. The mountain dew or waterfall has kept splashed before the human being starts adventure. The art without attention is like this waterfall. Kyo is nature and out of intention.

Mu is not “no being”. Mu is the existence of the infinity. Therefore, every single person has different Mu in his/her inside. Painters try to correspond the emotional dynamics in the Mu field with watchers. Only with consistence among their intense,