【トキワ荘のマドンナ・石ノ森章太郎実姉の残影】

　作家と住空間というわたしのNEXTライフテーマですが、どちらかといえば「住空間」の方に7:3くらいで力点があると認識しています。作家自身についてはたくさんの情報データもあるので、そちらには配慮しつつもあくまでもサブ的にと考えているところ。たまたま石ノ森章太郎のことを考えて見て、その作品については同時代的に耽溺していた自分自身の「体感」があって、作家とその作品世界理解という意味ではそう深くは触れる必要性を感じていなかったのです。正直。
　・・・なんですが、この住宅で触れた実姉・由恵さんの「人形作品」を目にしてこころが完全に奪われてしまった次第。昨日の人形と並んで、上の人形作品もまた展示されていた。昨日アップした人形が「正」であるとすればこちらは「奇」の表現だと思う。同一人物にして、このように違いが生み出されるというのは、その「才能」の深みに驚かされる。参考までに昨日紹介の人形も以下に再掲。

　どうもこの「実姉・由恵さん」に強く興味が沸き起こってしまった。
　Wikiの「石ノ森章太郎」の項の記述などをみると彼女のことが、人間・石ノ森章太郎にとってはまさに「血肉」のような存在であったことが、断片的ながら、強く浮かび上がってくる。石ノ森は厳格な公務員であった父からマンガへの進路を反対されていたが、この実姉が父親を説得して石ノ森を上京させたとある。そしてさらに彼女は、生来病弱で外出もままならない病の療養のこともあって弟を追うように上京して当時のマンガ文化勃興期の「梁山泊」トキワ荘で、石ノ森と同居しながら暮らしていたと記されている。その生前の写真はこの「生家」で公開され、管理の方からは「大いに広報拡散してください（笑）」と許諾も受けているけれど、公開は避けたい。しかし、実に「トキワ荘のマドンナ」という表現は正鵠を穿っていると強く思えるほどの美人。
　石ノ森章太郎とは3歳上。高校卒業後すぐに上京した弟とトキワ荘で同居していた時期は、それこそ花も恥じらうほどだっただろうか。石ノ森章太郎は上京後、トキワ荘では最年少ながらすぐに「売れっ子」マンガ家になっていたことも合わせ考えると実姉・由恵さんも実弟・章太郎の作品制作に協力していた蓋然性はきわめて高い。さらにこうしたマドンナの存在が、トキワ荘に集ったマンガ作家たちの青春模様に色濃く影響したことも想像される。まさに新文化創造の「るつぼ」感がハンパない。
　そういった彼女の才能の片鱗が、デフォルメされた印象的な人形造形に表出しているように思える。


English version⬇

Remnants of Tokiwasou's Madonna Shotaro Ishinomori's own sister.
The power of expression expressed in her impressive doll modelling. Although she was too sickly to go out, she may have kindled the flame of her talent as the greatest collaborator of her own brother. ...

　My NEXT life theme is ‘Writers and Living Spaces’, and I am aware that the emphasis is more or less 7:3 on ‘living spaces’. There is a lot of information and data on the artist himself, so while I take that into consideration, I consider it to be only a sub-themes. When I happened to think about Shotaro Ishinomori and look at his works, I had my own ‘experience’ of his works, which I was indulging in at the same time, and I didn't feel the need to touch them so deeply in terms of understanding the artist and his world of works. Honestly.
　But when I saw my own sister Yue's ‘doll works’ in this house, my heart was completely taken by them. Along with the dolls from yesterday, the dolls above were also on display. If the doll I uploaded yesterday is a ‘positive’ expression, this one is an expression of ‘strangeness’. The fact that such a difference can be produced by the same person is astonishing in the depth of his ‘talent’. For reference, the doll introduced yesterday is also reproduced below.

I became strongly interested in this ‘real sister, Yue’.
　The Wiki article on Shotaro Ishinomori shows that she was like ‘flesh and blood’ to the human Shotaro Ishinomori, although only in fragments. Ishinomori's father, a strict civil servant, was opposed to Ishinomori's career in manga, but his own sister persuaded him to move to Tokyo. It further states that she followed her brother to Tokyo and lived with Ishinomori at Tokiwa-so, the ‘Ryozanbaku’ of the then emerging manga culture, as he was recovering from an illness that made him sickly and unable to leave the house. Photographs of his early life are available in this ‘birth house’, and the management has given permission for me to ‘spread the word’ (laughs), but I don't want to make them public. However, I strongly believe that the expression ‘Madonna of Tokiwaso’ hits the nail on the head.
　She is three years older than Shotaro Ishinomori. When she lived together with her younger brother at Tokiwa-so, who moved to Tokyo immediately after graduating from high school, even the flowers must have been ashamed of themselves. Considering that Shotaro Ishinomori was the youngest manga artist at Tokiwaso after moving to Tokyo, but soon became a ‘successful’ manga artist, it is highly probable that his own sister, Yue, also cooperated with his brother Shotaro in the production of his works. It can also be imagined that the presence of such a madonna had a strong influence on the youth of the manga artists who gathered at Tokiwa-so. The sense of a melting pot for the creation of new culture is truly overwhelming.
　It seems that a glimpse of her talent is expressed in the deformed and impressive doll modelling.