{"id":46046,"date":"2025-03-18T05:59:05","date_gmt":"2025-03-17T20:59:05","guid":{"rendered":"https:\/\/kochihen.replan.ne.jp\/?p=46046"},"modified":"2025-03-18T05:59:05","modified_gmt":"2025-03-17T20:59:05","slug":"%e3%80%90%e5%b9%bc%e5%b0%91%e5%b9%b4%e3%81%ae%e3%81%a8%e3%81%8d%e3%81%8b%e3%82%89%e3%81%ae%e4%bd%9c%e5%ae%b6%e3%81%ae%e3%80%8c%e7%99%ba%e6%83%b3%e3%81%ae%e4%bb%95%e6%96%b9%e3%80%8d%e7%97%95%e8%b7%a1","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=46046","title":{"rendered":"\u3010\u5e7c\u5c11\u5e74\u306e\u3068\u304d\u304b\u3089\u306e\u4f5c\u5bb6\u306e\u300c\u767a\u60f3\u306e\u4ed5\u65b9\u300d\u75d5\u8de1\u3011"},"content":{"rendered":"

\"\"<\/a>
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\n\u3000\u305d\u3093\u306a\u30de\u30f3\u30ac\u6587\u5316\u300c\u4f5c\u5bb6\u300d\u3068\u3057\u3066\u306e\u77f3\u30ce\u68ee\u7ae0\u592a\u90ce\u306e\u5c11\u5e74\u671f\u306e\u300c\u624b\u3059\u3055\u3073\u300d\u3068\u3082\u3001\u904a\u3073\u5fc3\u3068\u3082\u53d6\u308c\u308b\u3088\u3046\u306a\u4f5c\u54c1\u3068\u51fa\u4f1a\u3063\u3066\u3044\u305f\u3002\u4e0a\u306e\u5199\u771f\u306e\u4f5c\u54c1\u306f\u516c\u958b\u3055\u308c\u3066\u3044\u308b\u304b\u308c\u306e\u90e8\u5c4b\u306b\u7121\u9020\u4f5c\u306b\u7f6e\u304b\u308c\u3066\u3044\u305f\u3002\u677e\u307c\u3063\u304f\u308a\u3092\u7d20\u6750\u3068\u3057\u3066\u305d\u308c\u3092\u9020\u5f62\u7684\u306b\u9023\u7d50\u7a4d\u5c64\u3055\u305b\u3066\u3001\u305f\u3076\u3093\u300c\u4e80\u300d\u3092\u8868\u5fb4\u3001\u5f62\u4f5c\u3063\u305f\u3068\u601d\u308f\u308c\u308b\u3082\u306e\u3002\u3053\u306e\u4f5c\u54c1\u304c\u7121\u9020\u4f5c\u306b\u5c55\u793a\u3055\u308c\u3066\u3044\u305f\u3053\u3068\u306f\u3001\u5c11\u306a\u304f\u3068\u3082\u751f\u5bb6\u3092\u4fdd\u5b88\u3057\u3066\u304d\u305f\u5bb6\u65cf\u306b\u3068\u3063\u3066\u3001\u306a\u306b\u3088\u308a\u3082\u77f3\u30ce\u68ee\u7ae0\u592a\u90ce\u306e\u4eba\u7269\u6027\u5168\u4f53\u304c\u305d\u3053\u306b\u8868\u73fe\u3055\u308c\u3066\u3044\u308b\u3068\u611f\u3058\u3066\u3044\u305f\u306b\u9055\u3044\u306a\u3044\u3002
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\n\u3000\u3053\u3046\u3044\u3046\u9818\u57df\u306b\u306a\u3063\u3066\u304f\u308b\u3068\u8a00\u8a9e\u8868\u73fe\u3067\u660e\u6670\u5316\u3059\u308b\u3053\u3068\u306f\u56f0\u96e3\u3067\u3001\u304b\u308c\u77f3\u30ce\u68ee\u5c11\u5e74\u306e\u300c\u5185\u7684\u306a\u30d1\u30c8\u30b9\u300d\u3068\u3057\u304b\u8a00\u3044\u3088\u3046\u304c\u306a\u3044\u3002\u3057\u304b\u3057\u3055\u307e\u3056\u307e\u306a\u304b\u308c\u306e\u30de\u30f3\u30ac\u4f5c\u54c1\u306b\u63a5\u3057\u3066\u304d\u305f\u4eba\u9593\u306b\u3057\u3066\u898b\u308b\u3068\u3001\u305d\u306e\u8868\u73fe\u610f\u6b32\u3084\u624b\u6cd5\u306e\u30b3\u30a2\u306a\u90e8\u5206\u306b\u751f\u3005\u3057\u304f\u89e6\u308c\u3066\u3057\u307e\u3063\u305f\u611f\u304c\u3042\u3063\u305f\u3002\u307f\u306a\u3055\u3093\u306f\u3069\u3046\u601d\u308f\u308c\u308b\u3060\u308d\u3046\u304b\uff1f<\/p>\n

English version\u2b07<\/p>\n

Traces of the artist’s \u2018way of thinking\u2019 from his childhood.
\nEmbodies the state of internal pathos of an artist who worked with a visual communicability that transcended language as his field of expression. Quietly surprising in its rawness. …<\/p>\n

\u3000Today marks the tenth in the series of visits to Shotaro Ishinomori’s birthplace. The term \u2018writer\u2019 is often associated with people like myself, who were born in the mid-Showa period (mid-1989s), with the idea that \u2018literary\u2019 writers, such as Akutagawa Prize-winning writers, are the target of the term, or at least the stereotype that literature is the highest rank. According to the AI, the noun \u2018writer\u2019 is defined as \u2018a professional who creates works of writing, calligraphy or painting\u2019. After all, \u2018writing\u2019 is first.
\n\u3000This way of thinking about society as a whole is probably folded into the base of the psychology of childhood, when children begin to learn about culture, and the writer is the first concept. When I myself started writing the e-book \u2018Writers and Living Space\u2019, I first took up Ryunosuke Akutagawa. The magnitude of such an imprint is probably self-evident. Kotoba’s paramountcy.
\n\u3000But on the other hand, as a modern person, I have experienced the big bang in the world of visual expression, such as television and film, and have come to believe that visual information is much more \u2018a priori\u2019. Since the post-war period, \u2018manga culture\u2019 and the animated cultural sphere that has developed from it have become more massive as a base area of human cultural reception. When you look at it in the light of yourself, manga culture seems to be much \u2018closer to your sensibility\u2019 than the works of Ryunosuke Akutagawa, doesn’t it? And the real-time sense of the way of life of the manga artists since Tezuka Osamu, who have kept their hands sweaty in the publication of their works, is not a lot.
\n\u3000While analytical depth and diversity is built into written expression, I think that manga expression has a communicative power that goes beyond verbalisation and is \u2018grasped in a single stroke\u2019.
\n\u3000I met a work that could be seen as a playful expression of Shotaro Ishinomori’s boyhood as such a manga culture \u2018artist\u2019 and \u2018tesasabi\u2019. The work in the photo above was placed randomly in his room, which was open to the public. It is made of pine cones, which are connected and stacked in a figurative manner to form the shape of a \u2018turtle\u2019. The fact that this work was displayed in such a careless manner must have been seen as an expression of Shotaro Ishinomori’s entire personality, at least by the family who maintained the house where he was born.
\n\u3000That is how it was perceived by me. It is thought that he gradually began to imagine this form from the stage of collecting pine cones from around the house as a material. I felt that the roots of the Ishinomori boy’s \u2018creative urge\u2019 were strongly projected in this work.
\n\u3000When it comes to this kind of area, it is difficult to clarify in verbal expression, and can only be described as Ishinomori’s \u2018internal pathos\u2019. However, as someone who has come into contact with a wide range of different manga works, I felt that I was exposed to the core of Ishinomori’s expressive ambitions and methods in a very raw way. What do you think?<\/p>\n","protected":false},"excerpt":{"rendered":"

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