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"Lively discussion!"
The middle-aged waiter, looking like a manager, comes to their table for
the second another coffee serving and stays with them smiling radiantly
after serving. With a white shirt and a bow tie, he seems to be an acquaintance
with Eriko.
For Tsubune's apology of their long stay, he says, "Don't worry. You
can stay here as long as you please."
Then he watches the pictures of Mari and Mr. Fallet on the table with great
interest. He says in confidence.
"The couple look happy at Angkor Wat! I like this place very much,
too. Each of the ruins is so romantic as if I were swallowed up into the
world far in the past."
Tsubune: "You must have visited there, right?"
Waiter: "Yes, this visit the other day was my third time. Besides,
this time I went a little further to Ayutthaya ruins and Phimai ruins.
They were similar to Angkor ruins."
Mari in smile: "You are right. The name of Siem Reap, the town of
Angkor ruins, means 'Get out of here, you Siem (the Thai).' Since the remote
past, Thailand and Cambodia invaded and were invaded each other. So they
were not friendly, but in fact their culture exchange has long lasted with
each other. The heart of both countries is the same from my understanding
since Thailand is also called a country of smile."
Waiter: "I agree. I have the same idea about the cultural exchange
of both countries."
The waiter looks at Mari admiringly, just when he notices the hand call
at the other table. He is sorry to say,
"I may have interrupted your conversation. I have forgot myself. ...,
please drink coffee before getting cold."
Tsubune tells him on behalf of them, "I would like to keep you here
as the talk with you is very interesting."
The waiter left their table saying, "Please have a good conversation."
Mari now talks as if once again.
"Chuta Itoh looks strict in the photos. Nevertheless, he actually
drew cartoons of monsters and ghosts."
Eriko agrees smilingly, saying,
"He must never be insincere. It may have some deep connection with
his childhood. There are monsters in most of his buildings. Is it because
only of his hobby? I don't think so. The inside of Kanematsu Auditorium
presented quite a lot of monsters to our eyes then. Could you let me know
your idea, Mr. Tsubune?"
Once again his face becomes bright as if waited for it.
"It sticks most in my mind, too. I may say darkness in human heart
would be immense. I investigated a little in my own way. Chuta left his
hometown Yonezawa, Northern Japan, at the age of three. This town is famous
for the ghost story called 'Zashiki-warashi (tutelary spirit that looks
like a young child in kimono).' After he came to live in Tokyo his mind
was still with the folk tales his mother had told him in bed every night.
Such a thing must be under his background."
Then Tsubune takes out his note. He begins to talk about Chuta's idea of
ghosts and monsters according to the note.
Monsters and ghosts are alive to the believers, and not alive to the unblievers.
It depends on whether you believe or not.
I do not mind whether they are alive or not. I am just interested in them.
If they are alive, they should first appear to their worshippers like myself. However, luckily or not, it is the most regrettable thing that I haven't ever seen them yet. |
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Tsubune: "After saying so, Chuta speaks his true feelings this way."
Since there is no particular rule in the figure of monsters, you may suppose
it is free and easy to create their pictures. But on the contrary, it is
more dfficult.
If the subject is a common human being or an animal, you will have no trouble
because you may think of a visible subject as a standard and can copy it.
But for drawing anything with no standard, much more imaginability than
artistic ability will be requested.
However excellent your artistic ability is, you cannot create or draw monsters
without imaginability.
If you improve your imaginability even without enough technical skill of
art, it may be said you have taken your first step out to draw monsters.
.....
Anyway however, even if there is no standard for the figure of monsters,
you actually have to get some suggestion from something alive. This stage
is far more difficult than the case in which you draw a human being.
In conclusion, to draw a monster is never such an art that anybody can
draw. |
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Eriko seems to have some idea by Tsubune's long speech.
"I agree with Dr. Itoh. Scenery, still life, human beings, ..., everything
before our eyes is only some material. From my understanding, it is the
imaginability as Chuta mentions that you get anything as your own."
Mari gives her idea, too.
"I didn't think Chuta made his sculptures and relieves just for fun,
but isn't it surprising he was so serious? I admit he was really a very
serious person."
Eriko adds a little calmly.
"Both for designing and building, he must have thrown all his energy
into each of the works. Therefore, he lamented few satisfactory works with
such obstacles of difference of ideas with owners and the lack of budget
at each project."
Tsubune has his hazy opinion, too.
"Then, were the satisfactory works based on the idea just for fun
or his hobby of monsters? Never. He always tried to express his firm belief
that it has to be on every work. Among them nobody doubts Kanematsu Auditorium
has by far the largest numbers of monsters. On the other hand, Dr. Itoh
himself declares unusually that he is satisfied with the workmanship of
the auditorium. It is so interesting but I cannot completely understand.
Therefore I am looking forward to the summary of senior Suga about the
connection between Chuta Itoh and Kanematsu Auditorium."
He is talking with his eyes fixed to the small oblong garden over the window.
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