村上隆さんのインスタグラム写真 - (村上隆Instagram)「I would like to share with you my impressions on Hayao Miyazaki's new film, The Boy and the Heron. First and foremost, I would like to say that it was a superb film for me as a painter. And below is my personal interpretation of the film, which shouldn’t contain a spoiler, but since it could potentially be a spoiler, please don't read any further if you want to experience the film with a completely clean slate with no information at all. ※※※※※※※※※※※※ In the documentary on the director while he was working on his film, Ponyo on the Cliff by the Sea, Hayao-san visited the Tate Britain in the UK and, after viewing Millais's Ophelia, said something to the effect of: “What we have been aiming for had already been mastered in the 19th century… we are no match." (Please look up the actual quote, as my memories aren’t accurate.) Hearing this, I thought that Hayao-san was someone who could jump into the artist's mind when viewing a painting. In other words, I realized that although Hayao-san is an animation director, he is also a painter, and he can understand the information contained within a painting. Even when looking at minimal art or conceptual art, we painters, as well as professional art viewers such as museum curators, collectors, etc., can understand the artists' thoughts within their brains, or trace the paths of firing synapses, in terms of their choices of materials and the way they structure their artworks. If it is a painting executed with a brush, the information it contains is vast, and in order to understand the work in minute detail, we may also use the artist’s own life as a clue. In some sense this is what is referred to as art history. This is why it is difficult to discern the true meaning of a work while its creator is still alive. 👉 Continued on next post」7月20日 13時47分