2016年5月22日日曜日
2016年5月16日月曜日
５月三つ物－近くて遠き / TRIPLET for MAY - Close and Apart
５月三つ物...近くて遠き
その刹那絵筆落とせり時鳥 淑
黒土を割り競う筍 麻
我先に息せき切って話し出し 麻
当ブログ掲載中の三つ物プロジェクトの５月版をお届けします。今回はカレンダー発ではなく独自の発句から始めることにしました。というのは同じくブログに掲載した手作りカレンダーの５月の絵は春の花、椿ですが、実際椿の季節は終わり初夏の明るい空気に満ち溢れています。季節外れはもってのほか！
それに三つ物も５月は陰暦により夏の発句からという規則なので、上記の如く夏、夏、無季の３句続きとなりました。
句は鏡
さて今月はいくつかの俳句を紹介いたします。最初は三つ物のパートナー淑子の俳句を１句。
母の日や絵本に聞こゆ母の歌
この句は亡くなられたお母さんのために作られた自家版の小冊
子の中に見つけました。母親との深い関わりをこのようにエッセイと句という形にできる素晴らしさを実感しました。更に、もう１句まさに彼女の人となりを感じさせてくれる句。
父祖の地にひとり生き抜く桐の花
Ｆｉｇ．1
高く咲く爽やかな藤色の花と父祖の地に1人生きていく凛とした姿勢がとてもよく響きあっていると感じました。
世界で１冊だけの絵本
また絵本と言えば、同カレンダーの５月の椿の絵（Fig.4)を提供してくれた小堀紀子さんは絵本の会に入って先生の下、手作り絵本を創作し発表し続けています。９月のグロリオサの絵も彼女の作品です。
昨年１２月柏の絵本屋さんでその展示会を拝見する機会に恵まれましたが、創作者それぞれがまさに１枚ごとに想いを込めて手作りした貴重な１冊だけの絵本の数々が展示されていました。会場で椅子に腰を据えて訪問客が１冊１冊見入っている様子が印象的でした。
家族の出来事を絵本にしてプレゼントすればそれをもらった人にとって無二の宝物となるし、又第３者に公開することによって未知の人に何かのヒントを与えたり、共感してもらえたりもします。更に生々しい経験も客観視して見直すことが出来るかもしれません。
因みに当ブログに載せた私の拙句帳も彼女にノウハウを提供してもらってできたものです。日本画と絵本という２つの表現手段でどんな作品が生み出されていくかこれからも楽しみです。
画像と句の間
最後に当ブログ４月三つ物で考えた画像と句の距離感の例を２つ挙げたいと思います。
まずは縁があって俳句の英訳をさせていただいた「波」町田支部創立１５周年記念句集「谿声」から１句。
伸びに伸び子の記念樹の茂りかな 山口友子
この句にはなんとしても筍の写真を合わせてみたいと思います。(Fig.5)茂り、と筍という２つの季語が写真と句で響きあい新しい広がりを見せるその良い例ではないでしょうか。
そしてもう１つの例として挙げたいのが、私の昨年度（’１５）カレンダーの３月に使用した絵と句のコンビネーションです。
Ｆｉｇ．3
Fig.2
実の所右の石の家の写真が元となって左の里若葉の句が詠まれたわけです。石の家の写真はよりリアルで分かりやすいけれど、里若葉の絵と組み合わせた方が句に含みが出て、はるかに想像の余地が生まれるように思えます。
この’１９の鍵’の句を読んだ人がどんな物語を想像するか、興味深い所です。
ＴRIPLET for MAY / Close and Apart
at the very moment / dropped her painting brush / a little cuckoo Yo
ripping through black soil / bamboo shoots vie Ma
striving to be / the first to break the news / running short of breath Ma
This is to present the May version of my triplet project which has been going on in this blog. This time I decided to begin with an original starting verse not in association with the picture of my hand-made calendar also covered in this blog.
May picture of the above calendar is camellia, which is the spring season word. The camellias, in fact, are
out of season now and the air is filled with the early summer brightness. Out of season surely is out of the question!
Also the triplet for May is supposed to start with a summer verse according to the lunar calendar. That's why in the above triplet two summer verses are followed by a no-season one as stipulated in the rules.
HAIKU is a MIRROR of
This month let me introduce some haiku. The first one is by my triplet partner, Yoshiko Kotagiri, which I felt skillfully expresses who she is.
on my fatherland/live through alone/paulownia bloom （Ｆｉｇ．1）
I sensed the resounding echo of the refreshing mauve blossoms blooming high up with her resolute stance oｆ solely surviving on her forefathers' land.
Then here is another one of hers:
Mother's Day - / hearing my mother's song / from the picture book
This haiku was found in the self-bound little booklet dedicated to her late mother. I keenly felt it great to make ｈer close relationship with her mother into a collection of essays with haiku like this.
the ONLY PICTURE BOOK in the WORLD
Fig.4
Talking of a picture book, Noriko Kobori, who offered the May picture of camellia to the before-mentioned calendar, has been creating and displaying her own picture books in a group under her teacher. Last Dec. I visited their exhibition in a picture-book shop in Kashiwa. There I found a number of valuable unique books each member soulfully created page by page.
In the venue the visitors settled down in the chairs and were leafing through each and every book. The scene was very impressive.
Some family affairs are composed into a picture book to be given as a gift, which can be the single treasure to those who receive it. Or the picture books displayed to the third party can give some hint to or be responded by the guests. Ｉｎｃｉｄｅｎｔａｌｌｙ Ｉ ｍａｙ ｒｅｍａｒｋ ｔｈａｔ my humble haiku collection covered in this blog was realized with the help of her binding know-how.
The Sept. picture of gloriosa in the said calendar is also a Japanese painting by Noriko. I'm anxious to know what works of art will further come out of these two methods of expression, painting and picture books.
between IMAGES and HAIKU
Last of all here are two examples to show the sense of distance between an image and haiku described in the before-mentioned Apr.version.
One is from "Keisei-water sound of the gorge"-the 15th anniversary issue of the foundation of the Machida branch of the group 'Nami-Wave'. I happened to translate the haiku of all its members and would like to quote the following by Tomoko Yamaguchi:
the memorial tree/
of my child grew steadily/
to be thick with leaves
Fig.5
I would definitely like to match this with the photo of bamboo shoots. This combination exemplifies two different season words in the photo and haiku interacting and expanding into something new.
The other example is the March picture with haiku from my calendar project '15.
Actually the right photo above（Ｆｉｇ．3） was the original idea for painting the left picture above
（Ｆｉｇ．2）. The right stone-house photo was realistic and obvious. On the other hand, when matched with the left painting of 'verdurous hamlet', the verse becomes implicative. And there emerges much wider scope for imagination between the two.
I'm deeply interested in guessing the kinds of imaginary stories the '19 keys' will evoke from the readers.
その刹那絵筆落とせり時鳥 淑
黒土を割り競う筍 麻
我先に息せき切って話し出し 麻
当ブログ掲載中の三つ物プロジェクトの５月版をお届けします。今回はカレンダー発ではなく独自の発句から始めることにしました。というのは同じくブログに掲載した手作りカレンダーの５月の絵は春の花、椿ですが、実際椿の季節は終わり初夏の明るい空気に満ち溢れています。季節外れはもってのほか！
それに三つ物も５月は陰暦により夏の発句からという規則なので、上記の如く夏、夏、無季の３句続きとなりました。
句は鏡
さて今月はいくつかの俳句を紹介いたします。最初は三つ物のパートナー淑子の俳句を１句。
母の日や絵本に聞こゆ母の歌
この句は亡くなられたお母さんのために作られた自家版の小冊
子の中に見つけました。母親との深い関わりをこのようにエッセイと句という形にできる素晴らしさを実感しました。更に、もう１句まさに彼女の人となりを感じさせてくれる句。
父祖の地にひとり生き抜く桐の花
Ｆｉｇ．1
高く咲く爽やかな藤色の花と父祖の地に1人生きていく凛とした姿勢がとてもよく響きあっていると感じました。
世界で１冊だけの絵本
また絵本と言えば、同カレンダーの５月の椿の絵（Fig.4)を提供してくれた小堀紀子さんは絵本の会に入って先生の下、手作り絵本を創作し発表し続けています。９月のグロリオサの絵も彼女の作品です。
昨年１２月柏の絵本屋さんでその展示会を拝見する機会に恵まれましたが、創作者それぞれがまさに１枚ごとに想いを込めて手作りした貴重な１冊だけの絵本の数々が展示されていました。会場で椅子に腰を据えて訪問客が１冊１冊見入っている様子が印象的でした。
家族の出来事を絵本にしてプレゼントすればそれをもらった人にとって無二の宝物となるし、又第３者に公開することによって未知の人に何かのヒントを与えたり、共感してもらえたりもします。更に生々しい経験も客観視して見直すことが出来るかもしれません。
因みに当ブログに載せた私の拙句帳も彼女にノウハウを提供してもらってできたものです。日本画と絵本という２つの表現手段でどんな作品が生み出されていくかこれからも楽しみです。
画像と句の間
最後に当ブログ４月三つ物で考えた画像と句の距離感の例を２つ挙げたいと思います。
まずは縁があって俳句の英訳をさせていただいた「波」町田支部創立１５周年記念句集「谿声」から１句。
伸びに伸び子の記念樹の茂りかな 山口友子
この句にはなんとしても筍の写真を合わせてみたいと思います。(Fig.5)茂り、と筍という２つの季語が写真と句で響きあい新しい広がりを見せるその良い例ではないでしょうか。
そしてもう１つの例として挙げたいのが、私の昨年度（’１５）カレンダーの３月に使用した絵と句のコンビネーションです。
Ｆｉｇ．3
Fig.2
実の所右の石の家の写真が元となって左の里若葉の句が詠まれたわけです。石の家の写真はよりリアルで分かりやすいけれど、里若葉の絵と組み合わせた方が句に含みが出て、はるかに想像の余地が生まれるように思えます。
この’１９の鍵’の句を読んだ人がどんな物語を想像するか、興味深い所です。
ＴRIPLET for MAY / Close and Apart
at the very moment / dropped her painting brush / a little cuckoo Yo
ripping through black soil / bamboo shoots vie Ma
striving to be / the first to break the news / running short of breath Ma
This is to present the May version of my triplet project which has been going on in this blog. This time I decided to begin with an original starting verse not in association with the picture of my hand-made calendar also covered in this blog.
May picture of the above calendar is camellia, which is the spring season word. The camellias, in fact, are
out of season now and the air is filled with the early summer brightness. Out of season surely is out of the question!
Also the triplet for May is supposed to start with a summer verse according to the lunar calendar. That's why in the above triplet two summer verses are followed by a no-season one as stipulated in the rules.
HAIKU is a MIRROR of
This month let me introduce some haiku. The first one is by my triplet partner, Yoshiko Kotagiri, which I felt skillfully expresses who she is.
on my fatherland/live through alone/paulownia bloom （Ｆｉｇ．1）
I sensed the resounding echo of the refreshing mauve blossoms blooming high up with her resolute stance oｆ solely surviving on her forefathers' land.
Then here is another one of hers:
Mother's Day - / hearing my mother's song / from the picture book
This haiku was found in the self-bound little booklet dedicated to her late mother. I keenly felt it great to make ｈer close relationship with her mother into a collection of essays with haiku like this.
the ONLY PICTURE BOOK in the WORLD
Fig.4
Talking of a picture book, Noriko Kobori, who offered the May picture of camellia to the before-mentioned calendar, has been creating and displaying her own picture books in a group under her teacher. Last Dec. I visited their exhibition in a picture-book shop in Kashiwa. There I found a number of valuable unique books each member soulfully created page by page.In the venue the visitors settled down in the chairs and were leafing through each and every book. The scene was very impressive.
Some family affairs are composed into a picture book to be given as a gift, which can be the single treasure to those who receive it. Or the picture books displayed to the third party can give some hint to or be responded by the guests. Ｉｎｃｉｄｅｎｔａｌｌｙ Ｉ ｍａｙ ｒｅｍａｒｋ ｔｈａｔ my humble haiku collection covered in this blog was realized with the help of her binding know-how.
The Sept. picture of gloriosa in the said calendar is also a Japanese painting by Noriko. I'm anxious to know what works of art will further come out of these two methods of expression, painting and picture books.
between IMAGES and HAIKU
Last of all here are two examples to show the sense of distance between an image and haiku described in the before-mentioned Apr.version.
One is from "Keisei-water sound of the gorge"-the 15th anniversary issue of the foundation of the Machida branch of the group 'Nami-Wave'. I happened to translate the haiku of all its members and would like to quote the following by Tomoko Yamaguchi:
the memorial tree/of my child grew steadily/
to be thick with leaves
Fig.5
I would definitely like to match this with the photo of bamboo shoots. This combination exemplifies two different season words in the photo and haiku interacting and expanding into something new.
The other example is the March picture with haiku from my calendar project '15.
Actually the right photo above（Ｆｉｇ．3） was the original idea for painting the left picture above
（Ｆｉｇ．2）. The right stone-house photo was realistic and obvious. On the other hand, when matched with the left painting of 'verdurous hamlet', the verse becomes implicative. And there emerges much wider scope for imagination between the two.
I'm deeply interested in guessing the kinds of imaginary stories the '19 keys' will evoke from the readers.
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