The Sky, Mount Fuhi, and the Seven Deities of Good Fortune on a Flying Dragon 2015 Mixed media work

Melody of the Firmament 2020.10
Journal of Koji Kinutani Tenku Art Museum vol.3
Now is the time for the power of art
Mamoru Nanjo, Advisor / Curator of Koji Kinutani Tenku Art Museum
Natural disasters, epidemics, wars… How can humankind realize the by reflecting a problem consciousness fueled by the introspection and self-“radiance of life” while overcoming numerous occasions of hardship? I truly searching of artists themselves on ideas and principles. It was also thefeel that human history has been represented by the accumulation of such expression of an important message as a wake-up call for human beings
ordeals. Perhaps that was where mankind sought for miracles through art, who possess an inherent “cry of life” which is not merely a beautiful andand in doing so came to believe in its power.

As is well known, many of the masterpieces standing out in the history of

comfortable expression at all.

It is said that the times give birth to art. If that is true, then is it not so that

art have been embellished with stories of their coming into being following now is the very time when the true value of modern art is being questioned
adversity. Unprecedented art trends have tended to arise in the aftermath

to see what art trend will come out in the future as we face a once-in-a-

Surrealism arose in the period between the two World Wars and Art

The Descent of the Muses- Renaissance is in session at Koji Kinutani Tenku

of major social upheaval. In 20th century art, for example, Dadaism, and century unprecedented crisis?

Informel afterward. In addition, the Abstract Expressionism movement Art Museum, which is a special exhibit remarkably fitting for this period indeveloped simultaneously in the critical condition of modern society which history. In particular, “An Angel in New York” and “The Morning Sun, Mt. Fuji

emerged after the Great Depression. Undisguised feelings buried deep in the and Two Dragons Each Gripping a Ball – Dharma-Gate of Non-Duality”, arehuman psyche surfaced when faced with adversity, which paved the way for gigantic three-dimensional objects of painted Styrofoam that should not be
the sharp sensitivity of artists to devise new values and aesthetic senses.

missed.

salvation, and it played a part in demonstrating the power of royalty,

1998 to express a wish of entrusting prayer for world peace to the angel in

Art was once the visualization of doctrine as a mark for prayer and“An Angel in New York” was made for his solo exhibition in New York in

nobility and the ruling class. After the modern era, art developed into a view of an uneasy global situation. It has a wooden body resembling a bird
formative creation that sincerely asked how people should exist while beset cage, flowing tears, and a face appealing for peace. A missile in the image ofby conditions of anger, sorrow, desperation, anxiety or insanity. It did this a nuclear warhead is held in its wings that are about to carry it into the widesky. As soon as we take notice of it, the body reminds us of the Hiroshima
Peace Memorial. This work gives off a tense atmosphere as if predicting thesynchronized terrorist attacks that later shocked the world. It is earnestly

calling our attention to the acts of folly repeatedly committed by mankind.
More than anything, please pay attention to the large flower placed on

the back. This is the symbol of trust for humans

and rebirth beyond tragedy. It has a grandmessage proclaiming love of humanity.

Without doubt, the resurrection of“dream and hope” is there.

“The Morning Sun, Mt. Fuji and

Two Dragons Each Gripping a Ball

– Dharma-Gate of Non-Duality”,

made in 2019, is an imposing

masterpiece measuring over 2mhigh and 3m wide. Mt. Fuji (canDisplay of “An Angel in New York” and “Arabesque”

also mean “Non-Duality”) arises tall from a sea of clouds in the background of the resplendently shining morning sun.

Red and Blue dragons are in flight, each gripping a sacred ball as if entwining themselves around Mt. Fuji. Children aremounted on the back of each dragon, crying out with joy as if symbolizing the fertility of nature and eternal vitality. Courage

The large flower carved on the back of“ An Angel in New York ” symbolizing“ Trust and rebirth of humans ”

is depicted here, seeming about to burst forth with a powerful yell to drive away the pandemic.

The Dharma-Gate of Non-Duality is at the core of the Vimalakirti Sutra, explaining that conflicting concepts such as good andbad, beautiful and ugly, life and death, or war and peace are originally parts of one entity. It urges us to accept their mutual
existence, to have the wisdom to live bylearning through accepting everything, andenlightenment toward light. Minus exists

because plus exists, and vice versa. Life willencounter death end even if we are obliged

by nature to look in only one direction ata time, it tells us the importance of thephilosophy of seeing with both eyes.

It resonates with the artistic view of Koji

Kinutani, that is to say, art should not

dwell on being well or poorly skilled, on

weaknesses or strengths but to aim forthe fertility of nature which surrounds all

individual spectacular achievements. We

can say that the Buddhist thought of Koji
Kinutani is vividly breathing, nurtured in
the ancient city of Nara where the Great
Buddha is to be found.

By the way, please pay attention to thedisplay space of the above-mentioned twopieces. “An Angel in New York” is placed
as if surrounded by “Arabesque”, a seriesof 20 masterpieces in affresco (fresco), theThe Morning Sun, Mt. Fuji and Two Dragons, Each Gripping a Ball-Dharma-Gate of Non-Duality 2019 Styrofoam Mixed media workclassic technique of mural painting which ispretty much representative of Koji. “Arabesque” is a mural painting which at one time decorated the theater entrance of the “National Children's Castle” inAoyama, Tokyo. It is a dream story filled with the joy of peace beyond time and space, which is dedicated to children all over the world. Because of that, by
arranging the piece of “An Angel in New York” which calls attention to the futility of war, the space becomes the embodiment of the “Dharma-Gate of NonDuality” where the conflicting entities of war and peace co-exist.

Meanwhile, “The Morning Sun, Mt. Fuji and Two Dragons Each Gripping a Ball – Dharma-Gate of Non-Duality” isdisplayed in the Tenku Gallery boasting a spectacular view, overlooking Osaka Bay. It turns on the stage with a golden

background. A visitor comparing the world of the image of this grandiose work and the daily lives of people below, cancatch a glimpse of greatness of art, mystery of life and depth of the human spirit again in the space of “Non-Duality”
woven by nature and art, imagination and reality.

Koji Kinutani has always said, “Paradise lies in this world,” and asks us about the importance of enjoying life. He sends

this passionate message with praise for the radiance of life using his paintbrush. By experiencing Kinutani Art as we live

through these difficult times, is it not so that we are able to look at the unlimited potential of humankind and believe in“resurrection” beyond our daily life, plagued as it is with COVID-19 and natural disasters?

Mr. Brian May, the famous guitarist of the world-renowned rock band “Queen” visited the museum in January this year.

He was impressed with the power of Kinutani art, and gave rave reviews, saying “This opened a new door to me.” Thisis exactly the very ideal of Koji Kinutani Tenku Art Museum. It is a sincere wish to support a new departure of people
through art, and it also wishes to be a place of bliss to pray for rebirth.
Give energy for humankind! Now is the time for the power of art.

Mr. Brian May visited the museum in January 2020

Description of a work : The Seven Gods of Good Fortune Riding the Surf
Akio Takahashi, Assistant curator / Educator of Koji Kinutani Tenku Art Museum
I am currently in charge of the “Affresco painting workshop,” which takes place monthly. It is literally for participants to experience affresco, a classic
mural painting technique that is rarely available to try. Every time before the painting experience, I give an approx. one-hour lecture on the displayedpieces. I walk through the museum with the participants and give the lecture to explain the Kinutani works and the structure and technique of affresco. In
the program, participants fully appreciate the energetic and colorful Kinutani World, and try to create an affresco piece on the basis of inspiration gainedin it. We do not set a participants’ target, but every time we have a high proportion of parents with elementary school students.
When I give an explanation to a group with a lot of children, I ask for their comments and opinions in addition to my talk, and observe the pieces while
making conversation. This is partly because children get bored with one-sided
explanations, but above all I often find the children’s comments very creative andinteresting. In addition, sharing them among the participants leads to deepening
the series of work appreciation, and some adult viewers including myself (if notall) become aware of how we become immersed in stereotype when we view the
works. Let me introduce some of the findings I experienced the other day. When I
was explaining “Celebration – Flying Dragon Dharma-Gate of Non-Duality”, I asked
the children questions like “What things are painted?” “Which colors are used?”
One of them looked at the balls held in the claws of the dragon and told me “Themoon and the sun are painted.” It is possible Koji Kinutani painted these balls on
the assumption they represented the moon and the sun. I am very ashamed toadmit that I had never before thought of these balls as “the moon and the sun”. I
remember I reflected on my imagination bound by the stereotype, and I learned
that the “Dharma-Gate of Non-Duality” also appeared here.
By the way, let me finish this long introductory remark. I would like to talk about
Celebration-Flying Dragon Dharma-Gate of Non-Duality 2013 Mixed media work

“The Seven Gods of Good Fortune Riding the Surf ”, which is particularly popularwith children, when I give a talk about the pieces at the workshop in this issue.
In “The Seven Gods of Good Fortune Riding the Surf ”, the seven well-known gods are painted as if they are having fun on jet skis. At the front from theleft, we see Daikokuten, the god of commerce, agriculture, and prosperity, Benzaiten, the goddess of financial fortune, music and art, Jurojin, the god of
longevity, and Bishamonten, the god of warriors and a punisher of evildoers. Hotei, the god of happiness, contentment and good fortune, and Ebisu thegod of successful business, are riding together behind. Fukurokuju, thegod of wisdom, luck and longevity is painted at the top. These gods havevarious backgrounds rooted in Hinduism, Buddhism, Taoism, and Shinto.
Their nationalities also vary, Indian, Chinese and Japanese, etc. In modern
terminology, we can express it as “diversity”, symbolizing the adaptability of
the Japanese whose country is located on the eastern end of the Silk Road andhave accepted foreign cultures and gods since ancient times. In any case, thispiece shows Kinutani World at its best, ever cheerful and full of humor. Don’t
you feel the genial personality of Koji Kinutani from this piece along with thebroad-mindedness of the motif?
Children are amused at the Seven Gods of Good Fortune with their expressive
faces in this unusual pose, and adults chuckle at the situation depicteddifferently from what we are familiar with. I think this piece holds charm forevery visitor.
I would like to take up “The Seven Gods of Good Fortune Riding the Surf ”
in this issue not only because it is a piece appealing to viewers with its
humorous style but also because it is a piece filled with the challenging spiritof Koji Kinutani as a painter and his ardent wishes.
I became aware of this fact when I accompanied Kinutani on one of his

The Seven Gods of Good Fortune Riding the Surf 2011 Mixed media work

visiting workshops of the “Children’s Dream, Art, Academy” held in numerous places for which he always manages to make time no matter how busy he
may be. This “Children’s Dream, Art, Academy” is cosponsored by The Japan Art Academy and the Agency for Cultural Affairs. It is a social contribution
project where members of the Japan Art Academy, who are the top-level artists in art, literature, music, play and dance, visit elementary, junior and seniorhigh schools all over Japan. They give lectures, demonstrations, and hands-on instruction to convey the greatness of cultural and artistic activities as wellas the importance of living with a dream so that children can nurture and pass on the rich spirit and sensitivities.

In these workshops, Kinutani tells the children “You don’t have to draw

pictures well. What is important is whether you can express what you wantto draw”. This is what he teaches children: In the world of art, there is noneed to be the same as others. There is no single right answer. The answer
to “1 plus 1” can be 3 or 4, and this is the epitome of artistic expression.

Therefore, it is important to express themselves in their own way using
the colors of their choice in the world of unlimited images. The teachingof Kinutani in respect of diverse individuality is a novel experience forchildren. I think it opens the door to fully encounter the fun and joy ofdrawing and creating images.

For children, to truly create drawings and paintings of their very own

means to believe in their potential of expression and nurture the ability todraw their dreams and to develop the images. Kinutani carefully teaches
and guides children through this visiting workshop to let them know thatthey first have to acquire the love of drawing.

Moreover, I think “The Seven Gods of Good Fortune Riding the Surf ” is amost exemplary piece, filled with messages from Kinutani to children. This
piece is nothing but an original image of Kinutani, and I have never seen
anything similar. Kinutani depicted the Seven Gods in the way he wanted to

Scene of workshop when Kinutani himself gave a lecture at the opening of the museum

make them appear. Such straightforward self-expression draws both agreements and disagreements, especially for Kinutani considering his position. Thatsaid, Kinutani finished this painting, and I think this piece is loaded with the ardent message of Kinutani which he had to send, and it is the very message
he keeps sending to children in “Children’s Dream, Art, Academy”. I wonder if he showed this piece as a leading example.

Furthermore, Kinutani said in his interview on writing characters in the pictures, “At first, I was criticized that it looked like manga or funny words fromthe mouth and does not look like an authentic picture. However, after I was recognized, I think it became one of the chances for younger generations tobe frank and paint as they want. If that is the case, I am happy.” (“Bursting Energy of Colors – All of Koji Kinutani” Sun Art, ‘Gekkan Bijutsu” August 2017
edition). I think these words are the true intention of making “The Seven Gods of Good Fortune Riding the Surf” together with aforementioned practicaladvice. No characters are written in this piece but it encourages creators to be truly free, and even some informal expressions that are taboo, in a way, canbe sincerely painted without hesitation. Behind this piece, when it is recognized in the world, I can say there lies his intention of widening the range of
expressions of future painters and children, can’t I?

Kinutani places importance on succession and keeping the connection with the future in his production. A lot of the pieces at our museum have suchmessages. Through his works, he is always sending his messages to us who are living now and future generations to come, trying to communicate. Affresco
has high durability. Kinutani himself who has chosen this painting method that can survive hundreds and thousands of years may naturally be aware ofthat. I feel we can see his strong sense of mission as a painter, and deep down further, we can see the nature of Koji Kinutani as a private person who issincerely facing up to what he can do for society through art.

So I want to facilitate conversation between the pieces and the viewers as much as possible instead of a one-way explanation in talk about the pieces at theworkshop, which I mentioned at the beginning. I believe conversation with the pieces would energize the free imagination of children and lead to wider
values using both eyes. Above all, I truly wish from the bottom of my heart that being exposed to Kinutani art, which wraps up the diversity of children
from a broader perspective, will offer an opportunity for the love of art to develop.

Announcement from the Museum
Measures to prevent COVID-19 from spreading
Koji Kinutani Tenku Art Museum was temporarily closed from March 5 (Thu) to June 2 (Tue), 2020 in response to the Declaration of a State of Emergency

by the national government and request for voluntary business suspension by Osaka Prefecture to prevent COVID-19 from spreading. After resuming ourbusiness, we will continue our preventive measures against infections so that people can visit us without worry. Please refer to the URL below for details aswell as requests for our visitors.

https://www.kinutani-tenku.jp/topics/detail.php?pkId=63
We appreciate your understanding and cooperation.

Published on November 2, 2020
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Melody of the Firmament vol.3

Koji Kinutani Tenku Art Museum

27th Floor, Umeda Sky Building Tower West, 1-1-30, Oyodonaka, Kita-ku, Osaka