【高松塚古墳壁画 日本の絵ごころ】

　先日の上富良野・後藤純男美術館参観でふたたび自分の本性というか、絵にいかに惹かれているのかを深く知らされた思いがしています。後藤純男美術館にはたぶん４−５年は行っていなかったハズなのですが、そういう絵との「再会」ということが自分のなかのなにかに着火する思い。
　日本人の連綿としてつながってきた絵ごころというものに、わたしは深く癒されるのだと気付かされるということでしょうか。
　現実の仕事のことなどはなかなか客観視できない部分があるので、ブログではやはり特定テーマでの定点的な観察・深掘りがほどよいと思うので、絵とニッポン人みたいな領域で書きたい。
　で、絵と日本人ということではこの1972年に極彩色の壁画が発見された高松塚古墳壁画がスタートにふさわしでしょうね。いまから52年前ということになるが、当時のわたしは20歳そこそこ。学生運動の最盛期でしたが、やはり発見された壁画、それも飛鳥美人画につよい印象を持った。
　絵については小さい頃から好きで小学校１年のときにアメリカ・ポートランド市と札幌が「姉妹都市」になったことを記念した児童絵画の交換で、わたしの描いた絵が選ばれてあちらに渡ったという経験がスタートで、自然にマンガに強く惹かれて行ったりもした。この当時には西洋絵画の「ルネ・マグリット」の展覧会がちょうど開かれたりして初めて美術館で参観して、大いに刺激された。
　そういうなかで日本の「飛鳥時代」の感性に出会って、深く「ルーツ」感に包まれていたのだ。
　写真は奈良県の「橿原考古学研究所附属博物館」での展示でのもの。複製陶板まで制作されたという一大ブームだった。
　若い男性の私としてはやはり、古代の日本人の「女性美」への興味が非常に強かった。とくに明瞭に輪郭線の残っている女性の顔がみごとに「うりざね」形であったことに刺激された。「そうか、自分だけではなく多くの日本人はこういう美顔に弱いんだ（笑）」。
　そしてファッション感覚も、まことにきらびやかで、日本人はこの時期、このような感受性で交感していたのだと思い知った。コトバではなく「絵」でこそ人間は「わしづかみ」されるのだということも学ばされたように思う。
　ちょうど大江健三郎の小説の難渋ぶりに辟易していた頃で、より強いインパクトがあった。コトバは明晰さの方により価値感を感じ、心象はやはり絵がわかりやすいと悟らされた。
　で、日本人はこの飛鳥の時代から連綿と絵画文化をつないできている。時代によって変わるもの、変わらないものが現在にまで至っているのだ。


English version⬇

Takamatsuzuka Tomb Mural: The Japanese Painting Spirit
A theme that can be continued away from daily work. Pictures express the mental images in an easy-to-understand way. I would like to reflect on the paintings of Japanese people that have stopped in my mind. I would like to contemplate the Japanese people's paintings that have stopped in my mind.

　My recent visit to the Sumio Goto Museum of Art in Kamifurano made me realize once again my true nature, or rather, how deeply I am attracted to painting. I have not been to the Goto Sumio Museum of Art for probably 4-5 years, but this “reunion” with the paintings ignited something in me.
　I guess I realized that I am deeply healed by the Japanese people's unbroken connection to the spirit of painting.
　Since it is difficult for me to be objective about my actual work, I think it is better to write a blog on a specific theme with a fixed point of view and to dig deep into the subject.
　In the area of paintings and Japanese people, the Takamatsuzuka Tumulus mural paintings, which were discovered in 1972, are a good place to start. It was 52 years ago, and I was just under 20 years old at the time. It was the height of the student movement, and I was very impressed by the wall paintings that had been discovered, especially the Asuka beauty paintings.
　I had been interested in painting since I was a child, and it all started in my first year of elementary school when my painting was selected for an exchange of children's paintings to commemorate the “sister city” relationship between Portland, U.S. and Sapporo, and was sent over there. At that time, an exhibition of Western paintings by “René Magritte” was just opening, and I visited the museum for the first time and was greatly inspired.
　It was in this context that I encountered the sensibility of the Asuka period in Japan and was deeply enveloped in a sense of “roots.
　The photo was taken at an exhibition at the Museum of the Archaeological Institute of Kashihara in Nara Prefecture. It was a big boom, and even replicas of the ceramic panels were made.
　As a young man, I was very interested in the “feminine beauty” of ancient Japanese. I was particularly stimulated by the fact that the clearly outlined female face was perfectly shaped like a uriza-ne. I thought to myself, “Well, not only myself, but many Japanese have a weakness for such beautiful faces.
　The sense of fashion was also truly glittering, and I realized that Japanese people were communicating with this kind of sensitivity during this period. I think I also learned that people are “grabbed” not by words but by “pictures.
　It was just at the time when I was fed up with the difficulty of Kenzaburo Oe's novels, so it had a stronger impact on me. I felt the clarity of Kotoba was more valuable, and I realized that the mental images were easier to understand in pictures.
　The Japanese people have continued to develop their painting culture since the Asuka period. What changes with the times and what does not change has continued to the present day.

【「状況が変わる」のはさまざまな縁の結び】

　きのうから長い連休が開けて仕事モードに。
　いちおう長く続けた仕事からは退任しているのですが、その後いくつかの案件を進めてきています。そうした案件が再起動。締め切りの迫っていた案件を昨日、一気に処理出来ました。やっぱり「仕事日」という潜在意識は大きいようで、休み中だと「まぁいいや」と時間伸ばししてしまって、結局さっぱり進まないものですね。時間がいっぱいあれば仕事が出来るのではなく、その中身でしょう。
　で、それ以外にも関与している事案があって、そちらについて動いていていただいている方から急遽連絡があって、大きな会社さんの副社長の稟議が終了して・・・という連絡事項。こちらの案件では「大きな会社」との話合いというもので、なかなかものごとを動かすということの難しさを思い知っていたのですが、なんと本格的に取り組んでから数ヶ月で、事態が動いた。ただし、本格的に取り組むと言っても小さな個人企業としてできることは、目を見て話すことが出来る相方の担当者や、その会社の一般社員のみなさんと「心を通わせる」ということのみ。まぁ千里の道も一歩から、なんですが、それが半年も満たない期間で、さまざまな偶然の積み重なりで変化したのですね。ありがたい。
　やはり事態が動いていくのは、それまでの隠された努力、多くの人の「思い」というようなものが縁として結実するものなのですね。縁結びという言葉が深く実感される。
　・・・やはり仕事のことはなかなか実名や事実を書きにくい（笑）。ただ、きのうは特異的な「仕事日」だったように思います。いわば日本社会全体の夏休みが終了し、社会全体が再起動する結節点のような日だったのではないかと。
　写真は先日の上富良野・後藤純男美術館へのドライブの帰り道に立ち寄った「三段滝」。こちらは北海道中央部の芦別市の名勝。石狩川の支流の芦別川の源流近くにある滝。堅い岩盤が地殻変動で上下にずれて河床が階段状になり、落差10m、幅7mの大きな滝を構成しているのですね。
　自然造形の見事さが、大自然のただ中で展開している。好きなスポットなのですが、この時期、本州地域のみなさんはことしの厳しすぎる残暑にさらされているでしょうから、画面からわずかでも納涼気分を味わっていただきたいと思います。さらに涼やかな「動画」も撮影してきたのですが、どうやってアップさせたらいいか、方法を失念してしまっているので、思い出したら、あとでリンク先を追加しておきます。よろしかったら、そちらもごらんください。


English version⬇

The “change of situation” is the result of various ties of fate.
Yesterday, the day after the holiday weekend, was a nationwide “restart work” day. Individual companies also received information about the restart of various work projects. We are thankful for the deep connections that we have made. Thank you for the deep connection.

　Yesterday, after a long holiday weekend, I got back into work mode.
　Although I have retired from a job that I had been doing for a long time, I have been working on several projects since then. Those projects are now back on track. Yesterday, I was able to handle all the projects that were due at once. It seems that the subconscious mind of “work day” is so strong that during the vacations, people tend to stretch things out and say, “Oh well, I'll just get on with it. It is not that I can work if I have enough time, but it is what I do.
　I received an urgent call from the person who is working on the other matter that I am involved in, informing me that the vice president of a large company had completed the approval process. I was aware of how difficult it is to move things along in discussions with a “large company,” but to my surprise, things moved forward within a few months after we started working on the project in earnest. However, as a small private company, all we could do was to “communicate” with our counterparts who could look us in the eye and talk with us, as well as with the general employees of the company. Well, a journey of a thousand miles begins with a single step, but in less than half a year, the situation has changed due to the accumulation of various coincidences. I am grateful for that.
　I guess it is the hidden efforts and “thoughts” of many people that bring things to fruition as fate. The word “karma” is deeply felt.
　I am still reluctant to write my actual name and facts about my work (laugh). However, I think that yesterday was a peculiar “work day. It was a day like a node, so to speak, where the summer vacation of the Japanese society as a whole ended and the whole society restarted.
　The photo is of San-dan Falls, which we stopped by on the way back from our recent drive to the Sumio Goto Museum of Art in Kamifurano. This is a scenic spot in Ashibetsu City in central Hokkaido. The falls are located near the headwaters of the Ashibetsu River, a tributary of the Ishikari River. I see that the hard bedrock has been shifted up and down by crustal movement, causing the riverbed to form a staircase, and composing a large waterfall with a 10-meter drop and a width of 7 meters.
　The magnificence of the natural formations unfolds in the midst of the wilderness. This is one of my favorite spots. At this time of year, people in the Honshu area are probably exposed to the severe lingering summer heat, so I hope you can enjoy even a slight feeling of coolness from the screen. I have also taken some cool “videos” but have forgotten how to upload them, so if I remember, I will add a link to them later. I will add the link later if I remember.

【花鳥風月の心象と宗教への向き合い方】

　写真は先日参詣していた菩提寺の境内に立っていた菩薩像。名前とか由縁などは確認してはいない。たまたま写真に収めてあとでパソコン画面で確認したら、なんとうっすらと霧が立ちこめていたのが、写真に写り込んでいた。なんとも神々しい雰囲気。菩提寺は後背に山を背負っていて、一度も行っていないのだけれど88箇所の参拝ポイントがあるのだと聞いている。そういう山の「気」が映り込んでくれたのかも知れないと喜んでいる。
　ご多分に漏れず、加齢とともに「心的風景」のようなことにこころが自然に向かっていく。健康のこととか寿命のこととかに否が応でも向き合うようになって、ひととして自然なことなのでしょう。
　日本列島では四季の変化が非常に明瞭だけれど、その四季変化がながく日本列島人に「花鳥風月」という心性を日本人らしさの骨格にしてきたと思う。とくに北海道という寒冷地も日本人の自然環境観に加わってきたことで、より深い陰影感が加わった。
　先日観てきた後藤純男さんの日本画には、そのあたりの日本人の「花鳥風月感」が大きく拡大・拡張した様子が、心象風景として表現されているように思えてならない。日本画という表現形式自体、日本人的な「自然」観をわかりやすく伝えてくれている。
　「こういう景色を見て、やっぱりこういう表現に至るよなぁ」という日本人的な納得感、美感というようなものがつたわってくるのだと思う。そしてそういう表現の系譜、連綿と伝わってきた精神性に深く帰依したくなってくるのだと思う。
　もののあわれ、という日本人的心性のコアと思える領域が、花鳥風月と通底する世界観。四季変化の中で諸行無常という哲学も自然に日本人は獲得してきたのでしょう。縄文社会由来の生活様式伝統のなかで明瞭な四季変化はその骨格を形成してきた。たぶん八百万の神が祀られる神道の世界観のベースなのだろう。それに対して世界宗教である仏教が伝来してくるけれど、他国の場合とは違って、日本列島では両者が非対立的に、基層と表層のように機能してきたのではないか。ホンネと建前みたいな「落とし所」感覚が日本人に強く生起していったと思える。世界宗教である仏教寺院である高山寺の宝物として「鳥獣戯画」のようなマンガ表現が存続し続けてきた社会。
　おっと、お盆休暇はきのうまでだった（笑）。これは休暇の「総括」か。
　本日から、残っていた懸案を処理して、またあらたな役務がスタートであります。なんとかテキパキと処理して行きたいと思います。


English version⬇

The mental image of “Kacho Fugetsu” and the way of dealing with religion
As I age, I am drawn more and more to the “mercy of things” sentiment. The four seasons show us their diverse expressions from year to year. The Obon vacation is over, and I'm back on track. ... .

　The photo shows a statue of a bodhisattva standing in the precincts of a family temple where I was paying a visit the other day. I did not confirm the name or the origin of the statue. I happened to take a picture of it, and when I checked it on my computer screen later, to my surprise, a faint mist was rising in the air, which appeared in the picture. It was a divine atmosphere. The Bodai-ji temple is backed by a mountain, and although I have never been there, I have heard that there are 88 places of worship. I am happy that the “spirit” of the mountain may have been reflected in the image.
　As is typical, as one ages, one's mind naturally turns to things like “mental landscapes. We are forced to face our health and life expectancy, and this is a natural part of human nature.
　The Japanese archipelago has four distinct seasons, and I believe that this seasonal change has long been the backbone of the “Kacho Fugetsu” (flower, bird, wind, and moon) mentality of the Japanese people. In particular, the cold climate of Hokkaido has added a deeper sense of shade to the Japanese view of the natural environment.
　The Japanese-style paintings of Sumio Goto that I saw the other day seem to me to express, as mental landscapes, the expansion and extension of the Japanese people's sense of “Kacho Fugetsu” (flowers, birds, winds, and the moon). The form of expression itself, Japanese-style painting, conveys the Japanese view of “nature” in an easy-to-understand manner.
　The Japanese view of “nature” is conveyed in a way that is easy to understand. I believe that the Japanese people are deeply moved by the lineage of such expressions and the spirituality that has been handed down from generation to generation.
　Mono no aware (mercy of things), a core area of Japanese spirituality, is a worldview that is commonly shared by Kacho Fugetsu (flowers, birds, winds, and the moon). The Japanese have naturally acquired the philosophy of the impermanence of all things through the changes of the four seasons. The distinct changes of the four seasons have formed the framework of the lifestyle traditions of the Jomon society. This is probably the basis of the Shinto worldview, in which 8 million deities are worshipped. In contrast, Buddhism, a world religion, was introduced to Japan, but unlike in other countries, in the Japanese archipelago the two have functioned in a non-confrontational manner, as if they were the base and the surface of the world. It seems to me that a sense of “the bottom line,” like “honne” and “tatemae,” has emerged strongly in the Japanese people. In a society where cartoon expressions such as “Birds and Beasts Caricatures” have continued to exist as treasures of Kozan-ji Temple, a Buddhist temple that is a world religion.
　Oops, my Bon vacation ended yesterday (laugh). This is the “summary” of the vacation.
　Today, I will start my new duties again, dealing with the remaining issues. I will try to handle it as quickly and efficiently as possible.

【蕎麦粉・カツオ節を業務用専門店に潜入して購入】

　さて蕎麦打ち修行開始するには、まずは準備運動・・・じゃない、用意しなければならないものがある。たしかに「蕎麦打ちセット」はみなさんからプレゼントされたけれど、練習するにしても蕎麦粉がなければ練習も出来ないということにハタと気付いた・・・って、当たり前ですが（笑）。
　そういえば蕎麦粉ってどこに行ったら入手できるのか、そういう段階の情報から探す必要がある。WEBで「蕎麦粉、札幌」と検索しても、いきなり専門店の情報しか出てこない。「え、初心者なのにいきなり蕎麦粉専門店、それも業者さん専門の工場かよ」という驚き。
　寿司ならば、お米は別段ふつうに家にあるし、ネタはちょっとした鮮魚コーナーのあるスーパーなどで仕入れることができる。わたしの場合、札幌中央市場の鮮魚卸店が経営している食品店によく行っているので（店頭のお魚写真のお店）、通常の買い出しに苦労はしない。そのほか、積丹の余市にはときどき情報を教えてくれるお魚屋さんもある。その他、買い出し先はそれこそ多様にある。
　蕎麦粉の入手について、蘊蓄系の大先輩にさっそく指南をお願いヘルプミーであります。で、紹介いただいたのが写真のところで、自宅から車で30分ほどかかる札幌市白石区の蕎麦粉工場、札幌蕎麦製粉さんであります。
　行ってみるとほとんどが業務用の生産工場で、大先輩のご指導通り、一般向けにも販売しているということでした。で、「道産石臼」という蕎麦粉を購入。当面はヘタな蕎麦を食べる人身御供は自分とカミさんということで、練習を重ねるために３kgほどを購入いたしました。だいたい１kgで10人前くらいの目安ということで、５−６回の練習素材になってくれそうであります。

一方で「そばつゆ」の方は、こちらも札幌市白石区の専門店・大熊商店さんに。店内に入ると工場から香り高い「カツオ節」の匂いがここちよい香りで激しく刺激してくる。こちらもいかにも業者向け専門店らしい雰囲気でしたが、やさしい女性スタッフの方がいて、当方の初心者ぶりに親切に対応していただけました。
　わたしの潜在意識として出汁系の方はお寿司料理とも共通するので、いろいろ工夫したいと思うのですが、まずは王道から教えを乞いたいと思っています。そんなお話をしていたら、こちらの店主の方はシロウトの蕎麦同好者向けに「蕎麦教室」も開かれているそうで、「蕎麦汁のレシピ」という入門者向けの印刷物までいただいた。感謝。
　こちらもさすがに奥行きの深さがプンプンと匂ってきます。さて、徐々に修行を開始していきたいと思います。もちろん潜行してやりますので、しばらく長い目で、よろしく。


English version⬇

Soba flour and dried bonito flakes are purchased at a specialty store for professional use.
As a man who is not a professional, I would like to start with “form” first, so I would like to introduce myself to a specialty store for professional use. The specialty store has a wonderfully educational atmosphere. The atmosphere is wonderfully educational.

　Now, before we can start our training, we have to prepare for the next step........ I had a buckwheat noodle making set, but I realized that I could not practice without buckwheat flour........
　I had to start from where to get Soba flour, and I had to search for it on the web. I was surprised to find only information on specialty shops, and I thought, “Oh, I am a beginner, and suddenly I find a soba flour specialty store, which is also a factory specializing in suppliers.
　For sushi, rice is usually available at home, and ingredients can be purchased at supermarkets that have a small fresh fish section. In my case, I often go to a food store owned by a fresh fish wholesaler at the Sapporo Central Market (the store in the photo of the fish in the storefront), so I usually have no difficulty in buying fish. In addition, there is a fish shop in Yoichi, Shakotan that sometimes gives me information. There are many other places to buy buckwheat flour.
　I asked a senior knowledgeable person for help in obtaining buckwheat flour. He introduced me to Sapporo Soba Flour Milling, a buckwheat flour factory in Shiroishi Ward, Sapporo City, about 30 minutes from my house by car.
　When I went there, I found that it is mostly a production plant for commercial use, but as instructed by a senior staff member, they also sell to the general public. So, I bought a buckwheat flour called “Dosan Ishiwa. For the time being, I bought about 3 kg of it so that I and my wife would be the only ones to eat bad buckwheat noodles, and we could practice making buckwheat noodles. One kilogram of Soba flour is enough for about 10 servings, so it will be enough for 5-6 times of practice.

On the other hand, for “soba-tsuyu”, we went to Okuma Shoten, a specialty store in Shiroishi Ward, Sapporo City. Upon entering the store, the aromatic smell of “katsuobushi” (dried bonito flakes) from the factory was here, a pleasant aroma that stimulated us intensely. The atmosphere of the store was very much like a specialty store for traders, but there was a friendly female staff member who kindly responded to our novice-like situation.
　I would like to devise various ways to use dashi as my subconscious, as it has something in common with sushi cuisine, but I would like to learn from the best first. As we were talking, I heard that the owner of this restaurant also holds “Soba classes” for novice Soba lovers, and he even gave me a printed material titled “Soba Soup Recipe” for beginners. We were very grateful.
　I could smell the depth of the restaurant. Now, I would like to start my training gradually. Of course, I will do it undercover, so please bear with me for a while longer.

【日本画家・後藤純男美術館／上富良野】

　わたしは美術鑑賞というと基本的には「日本画」がメイン。東京では山種美術館がベースキャンプ的な存在で、だいたい展示替えがある度に鑑賞するのが習慣化しています。
　やはり自分の性向として絵画・美術がいちばん根の部分にあるのだと思っています。そういう人間として日本人が感じてきた「美感」の歴史みたいな部分への探究心が強くて、どうしても日本画が中心になっていくのだろうと思っています。京都高山寺の「鳥獣戯画」も高山寺に参観に行って観てきたので、いまちょうど北海道立近代美術館で展覧会については、もう見ているけれど一応と、参観に行ったのですが待ち時間が数時間と聞いてさすがに断念した。
　こうした日本画について北海道内では、唯一に近い存在として上富良野にこの美術館はある。これまでも数回このブログでも紹介していますが、往復では250kmくらいのドライブになるので、さすがに加齢と共にややツラくなっていたのですが、連休でもあり今回また訪問。
　作家は日本画を追求していく中で、北海道の自然に深くこだわられて、その雄大な自然造形を描くなかで神々しいまでの体験をしたと述べられている。
　氏は現・千葉県野田市の真言宗寺院に生まれて、父君のみちびきで奈良京都の古刹寺院に宿泊しながら絵を描き続けていたのだという。宗教人としてそれらの建築体験がベースを形成して、それと対話するなかで、ある「視点」を獲得されたのではないか。
　そういう視線で北海道の雄大な自然造形に接したとき、心理の内奥から強い感動が襲ってきたに違いない。その雄大で厳しい自然のなかに立ち尽くしながら、スケッチしていた。日本人が立ち向かったこの大地への感動を体の中に蓄積させられたのだろう。
　旭川市内で氏が層雲峡などの作品について講演されたときに受講されていた上富良野町の役場のひとたちが、ぜひ現在地にアトリエをと積極的に誘致したとされる。下の写真は上富良野のこの美術館から遠く西に視線を伸ばした空撮写真。＜冬期の図＞

　何回も行っているけれど、今回は氏の娘さんが案内役で紹介されているビデオが上映されていて、上の写真の「違いがわかる男のゴールドブレンド」という珈琲のコマーシャルに出演された経緯もユーモラスに紹介されていた。このCMは1967年に日本初のフリーズドライ製法を取り入れて発売した、ネスカフェゴールドブレンドの広告キャッチフレーズ。これ自体、50数年前という歴史の中に沈んでいるけれど、その時代の空気感がなつかしい（笑）。
　日本画家として名を残したあと、こういうお茶目な側面も見せていただいた。北海道はすばらしい美術館を持っていると思います。


English version⬇

Japanese Painter Sumio Goto Museum / Kamifurano
More than 50 years have passed since the commercial “of a man who understands the difference. In this way, what Japanese people live becomes history as it is. This is the legacy of sensitivity. The Japanese Art House, Goto Sumio Museum of Art/Kamifurano

　When it comes to art appreciation, my main focus is basically on Japanese-style paintings. In Tokyo, the Yamatane Museum of Art is my base camp, and I make it a habit to visit the museum whenever there is a new exhibition.
　I believe that painting and art are the most fundamental part of my nature. As a human being, I have a strong desire to explore the history of the “sense of beauty” that Japanese people have always felt, and I believe that Japanese-style paintings will inevitably take center stage in my life. I went to see the “Birds and Beasts Caricatures” at Kozanji Temple in Kyoto, and I have already seen the exhibition at the Hokkaido Museum of Modern Art, but I gave it up when I heard that the waiting time was several hours.
　The museum is located in Kamifurano, which is the only place in Hokkaido where Japanese-style paintings such as these are exhibited. As I have mentioned several times in this blog, the round-trip drive is about 250 km, which has become somewhat tedious as I get older, but I visited again this time because of the consecutive holidays.
　In his pursuit of Japanese-style painting, the artist was deeply attached to the nature of Hokkaido, and he says that he had a divine experience while painting its magnificent natural formations.
　He was born in a Shingon Buddhist temple in Noda City, Chiba Prefecture, and continued to paint while staying at ancient temples in Nara and Kyoto under his father's guidance. As a religious person, these architectural experiences formed the basis of his work, and he must have acquired a certain “point of view” while interacting with them.
　When he came into contact with the magnificent natural formations of Hokkaido from such a perspective, he must have been strongly moved from deep within his psyche. I was sketching while standing in the midst of this magnificent and severe nature. He must have let his body accumulate the impressions of this land that the Japanese people had faced.
　It is said that when he gave a lecture on his works in Sounkyo and other places in Asahikawa, the people of Kamifurano who were attending the lecture actively invited him to build his studio in the present location. The photo below is an aerial view from the museum in Kamifurano, looking far to the west. <Image taken during the winter season

　I have been there many times, but this time a video was shown with his daughter as a guide, humorously introducing how she appeared in the coffee commercial pictured above, “Gold Blend for men who know the difference”. This commercial is an advertising catchphrase for Nescafe Gold Blend, which was launched in 1967 with Japan's first freeze-dried process. This in itself is sunk in the history of more than 50 years ago, but the atmosphere of that era is nostalgic (laughs).
　After making a name for himself as a Japanese-style painter, he also showed us this mischievous side of him. I think Hokkaido has a wonderful museum.