[水晶島 宮澤賢冶的hom mage] 的寄語(yǔ)
畠 健一
由半球體的水晶組合在一起，不知何故，作品放射出不可思議的能量線，數(shù)字化的進(jìn)程，現(xiàn)代社會(huì)發(fā)展所帶來(lái)的毫無(wú)生氣的光亮是那么的遙遠(yuǎn)，可能這感覺(jué)也就我一個(gè)人吧。
『以水晶島 宮澤賢冶的hom mage 命名的倉(cāng)貫徹的世界。』
一半球體和另一半球體的中間，貓眼石，青玉，鉆石，時(shí)不時(shí)的出現(xiàn)。
看著這一件一件的作品，那不可思議的能量線，讓我們感覺(jué)到了來(lái)自地球的能量線，引導(dǎo)著我們晃動(dòng)著的那遙遠(yuǎn)的記憶。
幾億萬(wàn)年前，地球的巖漿從地心向地表活動(dòng)，其中含有二氧化硅的巖漿鉆入泥土，巖石中的空穴，慢慢結(jié)晶成為今日之水晶，水晶的主要成分是二氧化硅，化學(xué)式為SiO2。具有雙折射的特點(diǎn)，我們的地球幾億年前，在這水晶體之上，形成了海洋，【水晶】也可以說(shuō)是【水的精靈】成為了海洋的基巖，是偶然 ？還是必然 ？在原始的海洋中產(chǎn)生出了生命，然后開始了進(jìn)化的旅程。在這作為水晶體舞臺(tái)的地球上，偉大的進(jìn)化演繹從此轟轟烈烈的展開了。
把水晶切割成小細(xì)條后，通電后通過(guò)調(diào)節(jié)電壓，自身便會(huì)產(chǎn)生振動(dòng)，其頻率是地球繞太陽(yáng)一周31536000分之一，換言之正確到1秒，以水晶制造的鐘表，就是利用這一原理。因?yàn)樗д袷幍念l率穩(wěn)定，用來(lái)傳遞記號(hào)誤差很少。由于水晶芯片的振蕩極精準(zhǔn)，且極有規(guī)律，除了可用來(lái)作電子表的時(shí)間控制外，還可以執(zhí)行計(jì)算機(jī)的精密計(jì)算更可用來(lái)作計(jì)算機(jī)間鉅大訊息的傳輸。預(yù)知地震，能量擴(kuò)大Amplify 能源通過(guò)水晶能夠增強(qiáng)而頻率不變，利用水晶進(jìn)行占卜算卦也是因?yàn)樗Ь哂蓄A(yù)知功能。
倉(cāng)貫徹以前發(fā)表了以水晶原石為中心的波動(dòng)庭院命名的作品，然后在2007年發(fā)表了『水晶島 宮澤賢冶的hom mage』的作品。倉(cāng)貫徹的敏感度也更上了一層，這和感受到了從水晶體中得到的波動(dòng)能量是分不開的。從半球體的水晶組合中，看到了閃耀著生命的光輝。
夜空中繁星點(diǎn)點(diǎn) 水面上波光粼粼
那是守護(hù)著地球成長(zhǎng)的星光和滋潤(rùn)地球給予生存在地球上生命的水的光輝。
倉(cāng)貫徹的作品就像那染紅地球的夕陽(yáng)，和那給與人希望的雨后彩虹。
那半球體的水晶體中散發(fā)出的美麗的光芒，照射到我們的心田，感性的美從我們的心間穿過(guò)。在那里必須和宮澤賢冶一起同樣去感受到大自然的力量。
（畠 健一 寶石研究家?JBS校長(zhǎng))
On the Occasion of “Homage to Kenji Miyazawa - Crystal Island”
Ken’ichi Hata
Director, Japan Jewelry Business School
Through particular combinations of hemispheres of crystal, somehow the work emanates a mysterious aura. Could I be the only one who senses how different it is from the lackluster light produced by our increasingly digitized modern world?
The world of Toru Kuranuki, called “Homage to Kenji Miyazawa - Crystal Island”.
In the spaces between the hemispheres, here and there, rubies, sapphires and diamonds show their faces.
Looking at these pieces one by one, it comes to me that this mysterious aura could well be the aura of the earth itself.
And then we are guided gently toward memories of eternity.
At the time of the earth’s creation, the heavy elements fell toward the earth’s interior, and lightweight elements such as oxygen (O) and silicon (Si) were left on the surface.
Eventually, oxygen and silicon paired successfully and became quartz crystal (SiO2).
The surface of our earth is covered with crystals.
The surface of the earth - it’s a crystal ball.
Forty billion years ago, the oceans formed on this crystal ball. “Crystal”, also known as “water spirit”, is the foundation under our oceans.
By chance? By necessity? . . . Primeval life was born in the sea . . .
And so began the magnificent evolutionary drama of vibrantly living things, on this crystal-ball stage that is our earth.
A crystal, when finely cut down, can generate a natural vibration frequency via the piezoelectric effect. This vibration is one 31,536,000th of the earth’s rotation around the sun, that is to say, an accurate measurement of one second. The quartz-type transmission clock, or quartz clock, applies this principle. Scientists call it electromagnetism, and the religious refer to it as hado (vibration). Humankind has without a doubt evolved amid the electromagnetism of crystals. Just as animals are sensitive to electromagnetic waves and know when an earthquake is coming, surely there have been people with special gifts who, sensing some disaster in the electromagnetic waves of the crystals that cover the earth’s surface, could foretell the occurrence of changes in the natural world. This is where crystal energy and crystal fortunetelling have their beginnings.
Toru Kuranuki previously exhibited works focused on raw quartz crystal, entitled “Vibration Garden”.
Then in 2007, after a long hiatus, he presented “Homage to Kenji Miyazawa - Crystal Island”.
There can be no doubt that Toru Kuranuki’s sensitivity is one that realizes ever-greater evolutionary progress and is receptive to the vibrations of the earth.
The trueness of the gently swaying glimmers, emanating from the combinations of hemispherical crystals, has become visible.
The sparkling of stars in the night sky. . . The sparkling of water. . .
It is the shining of the stars in the night sky that have watched over the earth since its formation, and the shining of the waters that have moistened the cracked land and given hope of life to all living things that dwell on the earth’s face.
From the works of Toru Kuranuki, interpretations of wild dances of beautiful light have begun to pour forth, one after the other, through the combinations of crystal hemispheres, much as the earth creates a deep red sunset or a hope-filled rainbow.
That light so beautifully shoots through to the sensitivity that lies in our innermost depths. And there we cannot help but feel, in the same way that Kenji Miyazawa felt, the absolute will of nature.
朱屺瞻藝術(shù)館榮幸地邀請(qǐng)您參加
風(fēng)水庭園倉(cāng)貫徹藝術(shù)作品展 開幕儀式
開 幕 式：2008年5月16日 15:30
地 址：朱屺瞻藝術(shù)館
上海虹口區(qū)歐陽(yáng)路580號(hào)
展覽開放：2008年5月16至25日
10:00-17:00 (16:30停止售票) 逢星期一休館
聯(lián)系電話：+86 21 56710742 56710741
Zhu Qizhan Art Museum is delighted to invite you on May 16th at 3.30 PM to the opening of the exhibition:
Feng Shui Crystal Gardenart worksToru Kuranuki
Address: Zhu Qizhan Art Museum
No. 580 Ouyang Road.
Exhibition Period: May 16 – 25, 2008
Opening hour: 10: 00-17: 00
(Last entry 16: 30, Close on Monday)
Tel: +86 21 56710742，56710741
倉(cāng)貫徹
1948 出生于大阪府
主要個(gè)展
1969 畫廊宮崎（大阪）
1971 [屋上展］自家展廳（大阪）
1974 信農(nóng)橋畫廊（大阪）`77 `79 `86 `87
1975 [版畫主體個(gè)展］由紀(jì)歐卡瓦畫廊
1976 petei畫廊（大阪）
1978 sadofuroa畫廊（京都）
1982-84 雕刻畫夢(mèng)（大阪）
1985 adeso畫廊（蘆屋), bazu收藏室（神戶）
1989 I.C.C., Paribas,Nine Arts Gallery(andwnbu柏林)
1990 Pamela Aushincloss Gallery (紐約 美國(guó))
1990-2002 kuranuki-畫廊（大阪）
2007 『水晶島 宮澤賢冶的hom mage』 藝術(shù)畫廊展示會(huì)（大阪）
主要展覽
1968 [第3次每日美術(shù)大賽展］京都市美術(shù)館（京都）[第21次蘆屋市展］`69(兵庫(kù))
[7MATERIALS展］masago畫廊（大阪）
1969 [具體美術(shù)新人展]具體pinakoteka(大阪)[次元`69展]京都市美術(shù)館(京都）
[野外造型`69］鴨川公園（京都）
1970 [京都anndepandan展］京都市美術(shù)館（京都）`71 `75 `77
[現(xiàn)代美術(shù)野外慶典］孩子的王國(guó)（神乃川）
[現(xiàn)代美術(shù)的動(dòng)向展］京都國(guó)立近代美術(shù)館（京都）[20人的方法展］信農(nóng)橋畫廊（大阪）
1972 [作為同一事件的偶然性 、］道頓堀街頭活動(dòng)（大阪）
1973 [中之島中央公會(huì)堂］展（大阪）
1974 [今日的方法`73展］京都市美術(shù)館（京都）`74
1975 [第11回現(xiàn)代日本美術(shù)展］東京都美術(shù)館，京都市美術(shù)館（東京／京都）
[第10次日本藝術(shù)沙龍慶典展示會(huì)］(澳大利亞／他)
1977 [化石展］信農(nóng)橋畫廊(大阪）[現(xiàn)代版畫大賽展]大阪府民畫廊`77（大阪）
[藝術(shù)交流展`77］兵庫(kù)縣立近代美術(shù)館（兵庫(kù)）
1985 [形態(tài)和概念1／20]藝術(shù)會(huì)場(chǎng)?nosufuto（大阪）
2004 [6人的作家／articulation2004]atokoto藝術(shù)畫廊（大阪）
KURANUKI, Toru
1948 Born in Osaka
Solo Exhibitions
1969 Toru Kuranuki, Gallery Miyazaki, Osaka
1971 Solo Exhibition at the home roof, Osaka
1974 Toru Kuranuki, Shinanobashi Gallery, Osaka (’77,’79, '81, '86, '87)
1975 Toru Kuranuki-Print, Gallery Yuki Ogawa
1982 Toru Kuranuki, Gamu Sculpture Gallery, Osaka ('83, '84)
1985 Image and Concept, Adesso Gallery
1989 Three exhibitions in Antwerp: I.C.C., Paribas, Nine Arts Gallery, Antwerp, Bergium
1990 Toru Kuranuki, Pamela Auchincloss Gallery, New York
1990-2002 Toru Kuranuki, Gallery Kuranuki, Osaka
2007 Crystal Island, ARTCOURT Gallery, Osaka
Group Exhibitions
1968 The Third Mainichi Bijutsu Competition, Kyoto Municipal Museum of Art, Kyoto
The 21st Ashiya City Exhibition, Hyogo (’69)
7 Materials, Masago Gallery
1969 Gutai Bijutsu Newcomers Exhibition, Gutai Pinacotheca, Osaka
Dimention‘69, Kyoto Municipal Museum of Art, Kyoto
Open Air Formative Art ’69, Kamogawa Park, Kyoto
1970 Kyoto Independent Exhibition, Kyoto Municipal Museum of Art, Kyoto
Contemporary Art-Open Air Festival, Kodomo-no-Kuni, Kanagawa
Modern Art Movement, Kyoto National Museum of Modern Art
The Methods of 20 Artists, Shinanobashi Gallery, Osaka
1972 Exhibition with Norio Imai and Saburou Muraoka, Doton-Bori, Osaka
1973 Nakanoshima Chuo Koukaido Exhibition, Osaka
Methods of Today ‘73, Kyoto Municipal Museum of Art, Kyoto (’74,’75)
1975 The 11th Contemporary Art Exhibition of Japan, Tokyo Metropolitan Art Museum, Tokyo
The 10th Japan Art Festival, Australia
1977 Art Now '77, Hyogo Prefectural Museum of Modern Art, Hyogo
2004 6 Artists / articulation 2004, ARTCOURT Gallery, Osaka
Image & Concept 1/20, Art-Floor North-Fort
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