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El Drama Minúsculo Poética De Flores Y Pájaros En El Imaginario Artístico Japonés

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El Drama Minúsculo Poética De Flores Y Pájaros En El Imaginario Artístico Japonés UNIVERSIDAD DE SEVILLA departamento de Dibujo TESIS DOCTORAL el drama minúsculo poética de flore ! p"jaro en el ima#inario art$ tico japoné % Vol. I directora &ilar 'arcía (ern"nde) doctorando (ranci co *avier Rui) Carra co , -NDICE .ip/te i 0 introducci/n 1 , todo c"li) e morada O#ata 23rin ,4 4 el drama min5 culo 2ami a6a Se66a 78 9 flore ! p"jaro Suzuki 2iit u 1: 0 re+erencia por la naturale)a Ta;ara!a S3tat u :, 7 la reflexi/n de la flore Sa6ai =3it u ,,: 1 el bot"nico ! el flori ta >atanabe Seitei ,9? ? ep$lo#o ,71 conclusione ,81 #lo ario ,?7 bibli#raf$a ,:0 4 Par l'oiseau rappelant l'oiseau tombé du nid. Par l'herbe qui a soif et recueille l'ondée. (ranci *amme 9 =I&@TESIS 0 La dimen i/n art$ tica del dibujo japoné re ide en u narrati+a% Es a.$A en la línea ar#umental, donde e intuye la +erdadera ma#nitud de la obra% En el ca o de la tem"tica de flores y pájaros el ar#umento e pre enta en cierto modo +eladoA como i el autor Bui iera di imular al#una .i toria per onal dentro de la con+er aci/n entre la planta ! la be te)uela% &or e o .a! Bue e tar tan atento al di"lo#o entre e to do peBueCo prota#oni ta A porBue pen amo Bue e a.$ donde acababa buena parte del cora)/n del arti ta% D a partir de e ta upo ici/n tra)amo nue tra principal .ip/te i E de de la Bue intuimo Bue la cultura japone a podr$a pro!ectar e en el di"lo#o entre la flor ! el p"jaro% Esta te i parte de de e e per onalí mo punto de vi ta% No parece un punto de partida dema iado con+encional, por e o .emo decidido continuar nue tro trabajo de de una per pecti+a poco ortodo<aE Bui)" m" cercana a la ima#inaci/n Bue a la deducci/n% Lo cierto e Bue una de la idea m" inno+adora de e ta te i e encuentra preci amente en el método de in+e ti#aci/nE trabajar de de el mundo de la im"#ene A interaccionando con ella de de el terreno indefinido de la analo#$a%%% a.$ radica la apue ta m" tran #re ora de el drama minúsculo% D e Bue creemo Bue mucha +ece on lo a)are ! lo capricho lo Bue tra)an lo camino m" maravillo o para alcan)ar el conocimento en el terreno impropio del arte% As$A con un método Bui)" algo impreci oA pretendemo articular la m" bella im"#ene del *ap/n moderno en torno a lo do prota#oni ta de e ta .i toria% No e otra co a Bue un intento de interpretaci/n del ima#inario de aBuel pa$ a tra+é de lo encuentro entre flore ! p"jaro % 7 INTRODUCCI@N 1 , Ten#o la uerte de vi itar *ap/n con cierta frecuencia% La re idencia de mi familia política e encuentra en Nii#ataA, en el cora)/n de un +alle al Bue lo japone e llaman pantano de peces (Uonuma4魚沼G% En aBuella ciudad uelo pa ar lo me e de +erano de de Bue en 4HH0 conociera a mi mujer en una uni+er idad de To6io% AllíA #racia a la o ad$a Bue olo e le permite al extranjeroA conocí a alguno de lo per onaje m" intere ante con lo Bue .e con+er ado nunca% En una oca i/nA durante un lar#o tra!ecto de tren .acia el puerto de Do6o.amaA un de conocido me .abló obre un libro de Lafcadio =earn Bue le .ab$a recomendado u .ijoA ! a.ora aBuel texto e .a con+ertido en la obra Bue cito con m" frecuencia a lo lar#o de toda la te i % La +erdad e Bue cada aCo Bue vuelvo a *ap/n coincido con al#uien Bue me ugiere un camino nue+o por el Bue tra)ar mi .i toria% Pues los versos no son, como creen algunos, sentimientos (se tienen demasiado pronto), son e!periencias. Para escribir un solo verso, es necesario haber visto muchas ciudades, hombres y cosas" hace falta conocer a los animales, hay que sentir c#mo vuelan los pájaros y saber qué movimiento hacen las florecitas al abrirse por la ma$ana.9 =e extra$do toda la idea Bue .e podido de la per ona m" rele+ante con la Bue me .e cruzado en mi viaje % En aBuel +a#/n de tren el a)ar me re#aló un , Nii#ata 新 潟 E una prefectura ituada en la co ta del Iar de *ap/n% Debido a u ituaci/n e traté#icaA u puerto e el Bue ma!or afluencia importadora mantiene con C.ina% 4 Uonuma .i 魚沼市 E una ciudad de la prefectura de Nii#ata ituada en el interior de un enorme +alle% En aBuel lu#arA la e tacione parecen lle+ar e al e<tremoA alcan)ando la temperatura m" alta en +erano de toda la prefecturaA a $ como la m" baja en in+ierno% En el cap$tulo 'Reverencia por la &aturale'a' e comentan m" detenidamente la in#ularidade de e te lu#ar% 9 RilkeA Rainer Iaria F,:7?G (os cuadernos de )alte (aurids *rigge% Lo ada% Jueno Aire % p%4: 8 maravillo o libro de Lafcadio =earn de mano de aBuel de conocidoA pero no todo fueron per onaje an/nimo E también coincid$ con celebridade de la e fera culturale como el e critor So.o IachidaA el arti ta =iro!uki Tana6a ! el #enial ! extra+a#ante Ara6iA0 del Bue incluso con e#uí lle+arme alg5n +alio o con ejo obre foto#raf$a% &ien o Bue el a)ar mucha +ece no facilita encuentro Bue +an aportando contenido ! profundidad a nue tra experiencia% Siempre e trata de acontecimiento fortuito A impo ible de pre+er cuando uno planifica el viaje% &ero algo e pecial tienen Bue tener cuando permanecen en el recuerdo con en aci/n de pre ente% A lo lar#o de e te trabajo pre ento lo fruto de e ta con+er acione ca uale E a +ece m" cercana a la anécdota Bue a la .a)aCa épicaA pero iempre in piradora ! ugerente % Todo e to pa aje on lo Bue +an adornando la idea m" rele+ante de la te i % Kui)" por e o el drama minúsculo .a acabado teniendo cierto a pecto de libro de memoria A porBue cada cap$tulo lle+a implícito una buena parte de la bio#raf$a del Bue e cribe% Lo cierto e Bue a +ece pon#o tanto acento en el recuerdo ! en la anécdota per onal Bue e acaban perdiendo la fecha A lo nombre ! todo lo Bue e uele utili)ar para dar cierto ri#or cient$fico a un texto% Sea como fueraA el pe o ar#umental e ustenta en momento re catado de mi trabajo de campo en *ap/nA porBue e de de mi experiencia de de donde con idero Bue puedo .acer una aportaci/n rele+ante% 4 &ero lo cierto e Bue el .echo de vincular momento impo ible ! lugare inalcancable no e aleja dema iado de la metodolo#$a de la ma!or$a de lo arti ta % Es por e o Bue la te i arranca con una reflexi/n obre el proce o creati+o en el dibujo japoné % Se trata de recuperar todo e o reflejo A lo impulso Bue #uiaban 0 Nobu!o .i Araki 荒 木 経 惟 F,:0HG Uno de lo fot/#rafo contempor"neo m" importante de la e cena internacional% Tra la temprana muerte de u mujerA e con+ierte en un arti ta e<céntrico ! e<tremadamente peculiar% ? la ima#inaci/n de lo arti ta Bue e ocupaban de de cribir flore ! p"jaro obre papel. La idea e la de acar a la luz el ejercicio conceptual de de el Bue e pro!ectaba la obra para lue#o poder utili)ar el mi mo enfoBue cuando la +aloremo % Ah$ radica una de la principale aportacione de e ta in+e ti#aci/nE en la extrapolaci/n de lo recur o de la ima#inaci/n obre el ejercicio de in+e ti#aci/n% +lasificamos demasiado y valoramos demasiado poco. ,l hecho de haber sacrificado el método de presentaci#n estética de las obras de arte a un pretendido método de e!hibici#n cient-fica, ha causado la muerte de muchos museos.7 Lltimamente e .a extendido la ob e i/n por cla ificar ab olutamente todo% Es como i la #ente con truyera armario en u cabe)a en lo Bue Bui iera almacenar u conocimiento or#ani)ado e crupulo amente en compartimento % También la obra #r"fica e cla ificaA e mide ! e ordena dema iado% Toda la pie)a art$ tica parecen condenada a acabar en alguno de e o cajone A e#ún corre pondan a una épocaA a un lugar en concreto o a un e tilo determinado% No ne#aré el +alor ! la utilidad de un buen archi+oA pero en e te ca o .e preferido pro!ectar mi in+e ti#aci/n .acia otra cue tione formale % En e te entido .e acabado acrificando fecha A per onaje .i t/rico ! dato erudito preci amente para e cribir de de un terreno m" di tendidoA m" cercano a la ima#inaci/n Bue a la explicaci/n% La idea e la de trabajar con la im"#ene Bue no e+oca nue tra memoriaA con referencia literaria A con a)are ine perado %%% Son e to impul o lo Bue .acen del .ilo ar#umental un tejido de relacione capricho a % As$A e ta te i .uye definiti+amente de la e tructura deducti+a t$pica de lo texto cient$fico % I" bien e podr$a decir Bue e trata de una vi i/n incr/nica de todoA 7 Oka6uraA 2aku)o F,:H1G .he boo/ of tea% '% &% &utnamM on % London and Ne; Dor6% p%,,? : un e cenario donde poder ir de una época a otraA de per onaje reale a otro ima#inado % En e e entido la poe $a acaba convirtiéndo e en la referencia m" con tante% Lo cierto e Bue la tradici/n art$ tica japone a iempre e .a culti+ado en uno círculo en lo Bue e poeti)aba ab olutamente todoA a $ Bue .e .echo de la poe $a el elemento +e.icular del ar#umento% (a poes-a en 0ap#n es universal como el aire.
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