Sacred and Secular phenomenology.

Why is it beautiful?
While I keep on chasing it,
My heart knows better than I do. Where to go for it.

A Sacred and B Secular. Chris Kyogetu
  1. 1Artwork with a phenomenological gaze.
  2. 2The Death of the Author
  3. 3Sacred and Secular Phenomenology
  4. Last ständig vorangent

1Artwork with a phenomenological gaze.

Have you ever thought about sketching a building on a street you pass every day, just once? It is a building you should see every day. You may be able to describe the features of the building, but you cannot spontaneously say how many windows it has. If you were to draw it, you would start by counting them.

It is difficult to find a place for sensitivity to live. Sensitivity cannot be used as a simple form of communication: living in the 20th-21st century, we are exposed to works of ‘expressionism’ and ‘artistic supremacy’, we are taught that we have ‘freedom’ (freedom by breaking away from religion) in our hands. We will see famous works of art as if they had been chosen by the freedom and good will of man.

But on the contrary, many questions will arise in front of the painting as to why a single painting is so expensive. Few people can explain why this one painting is worth so much, and its magical survival strategy as a business strategy. Apart from the fact that the Church commissioned the painting, there are many lies about how the demand for it was created. We accept the world vaguely, without subdividing it, like a building that does not know how many windows it has, but always exists.

A building has a role to play. But when I, as an outsider, try to sketch it, when I try to mix the external time of the building with the mental image of the building, when I start to count the windows, I have an inner world of my own.

When religions chose paintings, the criteria were simple. All that had to be painted was a saint, even if there was no understanding on the part of the church. Once people were painted, the subjects became endless. It is not known how many people have synaesthesia, so why are they chosen? How can one person’s ‘dream’ cost hundreds of millions of dollars? Some people can choose one or the other: manifestation through recognition by others, or manifestation of a value that only they know. Some people cannot choose. I am one who could not choose. The reason is that it is not as simple as the dichotomy between the sacred and the secular.

That is why we can no longer distinguish between them and the ‘sacred’. That is why the first thing to be baptised, as a sublimation from sensitivity to sensibility, is to learn ‘interdit’ in the body. 

A misunderstanding of Bataille’s ‘transgression’ by many irreligious people is that they assume that transgression into prohibition is the abolition or removal of the ‘sacred’, thereby confusing it with evolution – freedom. (Erotisme coll 10/18, p. 68,69) 

The eroticism of Bataille and Baudelaire, the fetishism of Roland Barthes, are not new discoveries. They were philosophies of the original state of nature that broke taboos. They understood Catholic sanctity and were oppressed by it, but did not seek to abolish it. We must not think of them only and by the authority of religion.

Interdit is the French word for Catholic prohibition…Because Bataille is French.

The Death of the Author

There are differences between the production processes of spherical-joint dolls and statues of the Virgin Mary. The statue of the Virgin Mary is dug out of a regular rectangle and does not show her nakedness (the skeleton and the flesh are conscious at the sculpting stage), but the spherically articulated doll is made out of material and is conscious of its nakedness.By associating the exposed genitals with the naked body and the mutilated corpse, it is even more related to the sexuality and death of the Battle philosophy.What is the entity confronting the spherically articulated doll? The answer is saints. Remember that St Bernadette is beautifully preserved as a mummy. She became not only a corpse, but a transcendent being, but does the doll qualify?

  At the intersection of the sacred and the profane in an A∩ B relationship lies the sacred part of art-humanity. Art in the Christian world is often like this. In literature, even in ‘Undine’, a Catholic priest creates the necessary conditions for the water nymph to become human.

But she dies because of human folly. What was the most beautiful thing in this story? It was the ‘love’ of the water nymph, who tried to approach the ‘human image’ defined by priests and Christian values. The tragedy of Undine having to kill the man who broke the contract is more love. Again, we can speak of a Bataillean transgression and interdit.

St Bernadette
Friedrich de la Motte Fouqué:Undine 
by Arthur Rackham

Hans Bellmeer’s doll is said to have left traces of secrets. It has a spherical belly, an artificial daughter, and it does not tell the story of its life. Dolls were toys, but this doll plays with the human psyche. Abstract works are often not judged by visual information alone and require a thesis from the painter, as in the case of Malevich. Nevertheless, what is always required is a work of sensitivity towards the reader or viewer. Whatever the author’s background, he or she emerges as a signifier. This is exactly what can be said of Roland Barthes’s ‘The Death of the Author’: the work and the author are two different ‘Ones’, and the work is not a manifestation of the author. However, an intuitive (synaesthetic) viewer may find fragments of the author. It is impossible to say when the effect of the symbols will be felt after a long period of time, but the role of symbolisation is to give form to ‘pain’ which is often overlooked in the world of war, racial oppression, ideas and writing.

One of the things that has left a painful legacy is the cross-holes left in the Auschwitz camps, but it is impossible for us to experience the same pain. So is a place like Auschwitz enough to document the ‘tragedy’? War cannot be documented in many other ways. In times of catastrophe, we revisit the catastrophic past. But puppets can be applied to war and other contemporary tragedies. Artworks are prepared to be applied to many different positions.

In a sketch, the external value of existence is like counting the number of windows. You don’t need to know the number to have everyday problems. But when you start counting, it shows your humanity.

…… For example, you are a teacher. When you ask your students to draw, they all draw different pictures.

Is this pure work the same as an unjust or immoral mind? Unfortunately, as human functions, they are the same. If we were to assign superiority or inferiority to them, it would depend on the moral ethics of the time. As proof of this, we remember that Gauguin’s paintings were treated as pornography in modern times.

3Sacred and Secular Phenomenology

What should be Epoché (phenomenological suspension) regarding the sacred and the profane is ‘happiness’. Today, happiness is divided into happiness that can be communicated to others and happiness as the value of one’s own existence. People always live in search of happiness and do not want their happiness to be violated. If they are uncomfortable with religious talk, it is because their own sense of the value of happiness is shaken. Therefore, you must suspend the urge to be happy. Phenomena are not driven solely by happiness. We must recognise that reality. Are you under the impression that works of art make you happy? Well, that is a mistake to begin with. One’s own sense of happiness interferes with the perception of the sacred. This is also true for religious people, whose awareness of true happiness can become a word unto itself and lead to unaccountable injustice.

It is not to denigrate faith that phenomenology is concerned with phenomena. Religion has also become an obstacle for those who associate philosophy with happiness, but that is exactly what must be done to Epoché. It is tantamount to not even understanding actual existence. For they have stopped thinking about where in the world they have been dropped by the values of happiness: ‘I could be happy with philosophy without religion.’ Today, just as the poet Baudelaire defined God and the secular not as a dualism but as a vertically equal position from the human point of view, I see the relationship between the sacred and the secular not as a dualism but as a set theory, like A∩B. As a world event, the sacred does not ‘attachment’ but ‘includes’.

Oscar Wilde’s Salome example will be the last. John the Baptist, who was executed, was located at A-B. Oscar Wilde was an adaptation of the Bible but understood it well. Had he not attempted to convert to Catholicism, he would not have turned his attention to this ‘Interdit’.(prohibition)

Oscar Wilde’s Salome is not a simple indulgence. If he had chosen to tell an unregulated story, using only his imagination, he could have come up with an ending in which Jokanaan was not executed and Salome was not killed. He was well versed in freedom and law (Interdit) as to why Salome had to be killed. The evidence for this is that Oscar Wilde converted to Catholicism in his later years.

Jesus Christ crossed over to the people with his own feet, but Joan the Baptist (Jokanaan) obstinately refused to forgive King Herod’s unfaithfulness. In the Bible, Salome’s original book, John appeared to testify to the light (Gospel according to John, chapter 1) and to say that Jesus was the Son of God. John the Baptist was so righteous that he even advised against religious leaders. (Matthew 3:7-12)

I don’t know why Wilde understood this, however, it was biblically correct for him not to answer Salome’s love. Jesus can move from justice to love. It also makes sense to explain the Holy Spirit’s involvement in the events of this world that the Trinity has its own persona and that the Holy Spirit comes and goes.

Oscar Wilde: ‘Salome’.
Painting by Aubrey Beardsley.

The creator of a work of art dies, but we make a mistake if we see this death as just ‘death’. We must not forget that this ‘death’ is typical of Jesus. John the Baptist did not come back to life, Lazarus was a reanimation. Nor did Jesus’ resurrection give him another life, as in reincarnation. Even Mary, weeping at the tomb, did not recognise Jesus after the resurrection. Hans Bellmeer and other writers have also not been analysed and resurrected. They have only assumed their Creator, whom we have analysed from their writings and works.

It is banal for the transformation of the artist to be an observation only in the museum (and books). If it is to be a phenomenological reduction, it is to try to make the transformation everyday. Phenomenology is the philosophy of the everyday.

Last ständig vorangent

Jesus Christ, the number corresponding to the Hebrew letters, adds up to (Jesus 888 + Christ 1480 = 2368) These three together are a golden ratio of 3:5:8, but the Hans Bellmer doll is not St Bernadette, but the woman who modelled it lived while hiding the fact that she was a Jew There was a woman.

The golden section is already calculated and present before we recognise it. What you do for others, you will do for yourself, is the golden ratio in modern biblical interpretation (Matthew: 7, Luke: 6). What you do for others will come back to you, so much so that it’s even been written about in business books, and we don’t need the noun Christian to hold this idea in our hands. It is an undeniable fact that events are not driven by happiness alone, but if you are looking for happiness yourself, it is a wonder that you are attracted to ‘work’, even if you do not know the Golden Rule. People pray to the miracle of the saint, to the presence of Bernadette, but not to this doll that represents pain. What it imitates is the love of the artist. Because of love, there was anger in the world. And it represented the liberation of the soul. That is the meaning of free creation.

If you begin to look at the mystery of being, why you ‘exist’, rather than the glory of being recognised in life, you will experience communion with the sacred and the profane. Jesus Christ found the pain and sickness of the people. For this age, these were things that the world had rejected. Is there a difference between this act and the reflections and mere observations of philosophy?

Like Jesus, who was aware of his poor existence. It’s banal that a life ends just before someone’s authority is spread throughout the world. During the war, when it was common to see corpses lying around, there were artists who made dolls of the women they loved. Waiting for the war to end is the time of the mundane. The passage of time makes cities without the scars of war. It is a sacred time to look at the reality that hides the pain so that there is no pain, and to look at what is hidden.

In the original title of this article, ‘Sacred and Secular’, M. Eliade says that sacred time is time that can be repeated many times. The two types of time experienced by religious people and the phenomenological time scale are very similar. Chronos (outer time) or Kairos (inner time). Inner time has its own time axis. When the sacred and the religious (sacramental) come close together, it is a different story because it requires ‘faith’. Consciousness is at the door of faith. When we are in front of it this time, we are happy. Belief and faith are two different things, I will not go any further.

Faith and susceptibility are closely connected. It has euphoria and tragedy, as if it were a soul. To be a creator and to want to ‘manifest’, whether this is a mere performance of the brain or a gift from God, becomes from here an inseparable belief in philosophy, but I wish to be given new ‘eyes’ on the ‘happiness’ that I have kept hidden until now.

This article is a series of articles. It and a recounting of Salome and Undine, which I dealt with in my book Iconograph.
The Phenomenology of the Bird’s Nest, which is also my theme.
I drew inspiration from Simone Weil’s philosophy lectures, On Between Instinct and Function.

Birds form nests out of parts of their lives.
Is it the Word of God, as in Matthew 13, or inorganic parts?



Aを聖、Bを俗とする Chris Kyogetu

  1. 1 芸術と聖なるもの
  2. 2 芸術作品と作者の死
  3. 3 聖と俗の現象学
  4.  4 ständig vorangent(絶えず先立っていること)

1 芸術と聖なるもの





だからこそ区別できなくなったのが「神聖」である。「神聖」への一歩として感受性から感性への昇華としてまず洗礼を受けるべきこと、それが「禁止」を身体で覚えることである。バタイユの「禁止」について、多くの無宗教者が誤解をするのは、禁止への侵犯のことを「神聖」の廃止や取り除くことだと思い込み、それによって進化‐自由だと勘違いしていることである。(Erostisme coll P68,69)


2 芸術作品と作者の死


ウンディーネ 画アーサー・ラッカム







3 聖と俗の現象学








 4 ständig vorangent(絶えず先立っていること)










文学と私刑 飛翔点(2)


Casilda of Toledo – Japanese

the miracle of the Roses

Cuando Casilda desplegó el manto, cayeronmuchas rosas.





 自己犠牲であるサクリファイスと息詰まった状況に一石を投じる機械仕掛けの神、デウス・エクス・マキナ。【deus ex machina】カシルダの終盤はデウスエクスマキナである。自分が優位になるための自己犠牲というものは、チェスの世界でも存在しているが、アリストテレスは機械仕掛けの神を否定している。私は無機質に思えるチェスの世界という論理の世界でも、奇跡が起きることが面白いと思っている。守りばかりでは一向に進まず、必ず駒というものは取られる。駒の価値は常に変動し、駒は攻めたり、お互いを監視したり、息詰まる。その中で駒が取られる度に、ただの失策かサクリファイスか分析が入る。常に不確定要素にかけ続け、結果からサクリファイスは確立する。






Literature and Mob Justice(SoarⅡ)

For the wages of sin is death, Rome6:23


Some people say the Bible is a piece of literature, but I believe the words of the unknown man who said, “The Bible is not literature. When I was a young aspiring writer, I started by accepting that I didn’t exist, like an “unnamed worm”. Fiction is also a way to leave behind what you want to say, but you can’t leave it behind if you write it the way it is. This is why it was necessary to think calmly and reject ideas by revising. Embracing that cruelty, with the Bible at the top, my ego is humbled. Because everything is written in the legacy of the past, with the Bible above:There is no virgin in the imagination, and that was the beginning of my life as a writer. It was about “writing a cruelty story”, especially about “Mob Justice”. The quotation from Romans, “The wages of sin is death”, continued to move across the manuscript as it has been rewritten many times:Sometimes it was the introduction, sometimes characters who never came into the world spoke about this quotation. Actually, the words of the Bible continue. “but the gift of God is eternal life in[a] Christ Jesus our Lord.“and it will be explained that Jesus offers forgiveness to those who cannot break the flow of sin, and that the dead cannot sin.

And Then There Were None and Bergson’s philosophy

I also preferred Agatha Christie’s “And Then There Were None” during my recuperation from 2018 onwards. There are no detectives in this story. From the perspective of the third person, each corpse appears to speak, and the truth is summed up in the letter of Aposiopesis. There are ten people gathered here who have committed crimes that cannot be judged by the law. One of the murdered victims, Emily Brent, was a fanatic who had driven her pregnant servant to suicide. Ten individuals gathered here have committed crimes that cannot be tried by law. One of the victims, Emily Brent, was a fanatic who forced her pregnant maid into suicide.

Maybe she thought she would be killed afterwards, but she tried to stabilize her mind with Psalm 91, which promises God’s salvation;” You will not fear the terror of night, nor the arrow that flies by day, nor the pestilence that stalks in the darkness, nor the plague that destroys at midday. But his prayers failed and he was bitten dead by a bee.

The tragedy of this isolated island is orchestrated by a plot to kill Justice Wargrave. In the relentless passage of time, it is Bergsonian that the time of consciousness and the time of the world do not always coincide, but Emily’s decisions in the inner world of faith distort the outer world. He focused on the sins of the unpunished. Pure and inner awareness does not necessarily mean pure and enduring Christian love, light and goodness: Philosophical purity refers to universality and does not limit itself to ethics.

Killing by sanction is the unwritten law of that which emerges when philosophy and theology are trapped and concealed by ethics. Our sins are condemned by our faith and remitted by God. However, that is not always the case in the society in which we were born. The judge looked at this and came up with this plan. The best part of the story, the apparent killing puppet, was based on a poem from Mother Goose.This poem is also old and was originally written by the poet Mother Goose, and is translated as “Indian doll” or “soldier doll”. This poem is also originally symbolized black people, but was later changed to Indians.

Imitate murder is performed with dolls symbolizing the occupation and persecution. Matter is memory, the dualism of mind and matter is present this murder story. The time on the island is not owned by anyone, the protagonists themselves do not exist, and they are manipulated by a fictional being, U. N. Owen who have invited ten people. Formlessness controls the destiny of this island. Matter, space and memory, the relationship between them, passes unnoticed as a philosophy by most people. Nevertheless, like dolls, they are aware as soon as the material becomes suggestive, and they are in danger of being themselves. They find significance in the poems and dolls of Mother Goose, and live in the plans of the true criminals. Elusive sounds live fluidly as aural sensations, a gramophone playing a mysterious voice that exposes the wrongs of each person. We find ourselves even frightened of the interplay of matter and spirit, a philosophy that makes us dull and sleepy.

Judge Wargrave must have been pleased with the sight. Like table manners, as if it were a rule that passes for manners, he enjoys playing the killing dinnder.【killing game】 With the sound of a gunshot, the killer Wargrave, made it look like he was dead. Rising from it, his Ghost Play accelerates further. Wargrave’s self-absorption is evident in the way he likens himself to the biblical Cain and Abel.

Cain committed the first murder in the Bible and lied about it, but God would not let Cain take his revenge. Therefore, the Judge is a clown with an aesthetic illusion of justice. Because God’s wish is that there should be no Mob Justice. However, Mob Justice and aesthetics are two sides of the same coin. The Thaumatropes, whose cage and bird are painted apart, looks like a bird in a cage.If you turn the picture, you can see the bird in the cage, as if they co-exist and are involved with one another. Literature was attracted to that. Other arts, including painting and music, do not deal with ” Mob Justice” Painting is confined to religious or “Public punishment” when it comes to judgement.

Words have various roles, from God’s word to poetry, proverbs, fiction and journalism. Painting and music are not taken seriously by everyone, while language is mastered by everyone, and everyone takes it seriously, sometimes speaking of love, sometimes speaking of lies. Words means simply disappear and disappear over time. For example, the phrase “I love you” also fades away, because words require perception, memory and experience. Love cannot live by words alone. Love is accompanied by feelings and actions. In addition, the word “love” is often associated with many human beings. Even before an incomprehensible love, we can recognize the direction. When love works, it knows that it is love by its deeds.:On the other hand, private killings and retributions do not allow us to easily understand feelings of cause and effect.  The Indian poem of Mother Goose is a cruel poem, and the last Indian hangs himself. These ten people are enough to understand the meaning of the Indian poem. Their lives are threatened so that the pure continuity of consciousness and time ceases to be a theory, and they end up in the past ≒ memory without redemption.

Souls by Mob Justice

Like the ten invited guests, we do not see memory, time and space as separate objects.

According to Plato’s three ideas, (1) is the true, (2) beauty, (3) interest towards the good. Sternberg refers to this aesthetic interest in beauty. In the Bible we find such a composition in the Old Testament story of Hagar. Abraham’s wife Sarah could not have children, so she gave birth to a slave, Hagar. She gave the child the name Ishmael. Hagar’s situation is similar to that of Emily Brent, but in the end, Hagar is saved by God.

In the biblical world, “Thou shalt not kill” (Exodus 20.13) is based on faith, on the absolute God. In the biblical world, “Thou shalt not kill” (Exodus 20.13) is based on faith, on the absolute God. But does literature write about evil, breaking its promises with mischief? “Literature and Evil”, Georges Bataille made us believe that the best of literature is to search for evil in the veins of the world. Writers sometimes sort philosophically if it is necessary to write only imagination or experience.Then imagination is no longer enough, and they seek to make everyday life more than a dramatic statement. So this story is quiet. In And Then There Were None, the characters, with the exception of the murderer, can only see the surface of humanity. There is no investigator in the movie, and evil is not the key to unlocking good. If there is any confirmation of God’s existence, it is when the “fishing boat” accidentally picks up the confession that the judge put in a bottle and was never meant to be picked up. Christianity has a profound connection with fishermen. Peter was a fisherman, and Jesus told him that he would be a fisherman who would catch men. Within the framework of a mystery novel, however, this point of view would be like wash for gold. (Gold dust) But wouldn’t the real world be insipid without such a ‘point of view’ and ‘consciousness’? The paintings are useless when they burn, as the paintings of Carel Fabritius are displayed as survivors of an explosion. How does literature affect people? Literature is of the nature that what words and concepts represent and people’s feelings do not have a fixed Buddhist substance. Therefore “And Then There Were None” shows the cruelty of the writing world.

 Painting can be explained in words, but it must exist as a picture. Literature can be placed beside the Bible, but it fails to achieve a visible space and form. In the past, when I painted, they congratulated me on my ability to draw and my sense of color. I was looking for myself in painting, with ideas and concepts. This is probably when my philosophical reflections became more impulsive. What cannot be put into words seeks no form, and then tries to rely on something to paint. It was a passion that emerged in my youth, but I wanted something more mature. I couldn’t stand the self-image that bounced back from my consciousness and my technique. It was a passion I had when I was young, but I wanted something more mature.

I couldn’t stand the picture of myself bouncing off my consciousness and technique.: Like Van Gogh with his sunflowers and his obsession with color, I could not do it, I only saw thoughts of love and existence.

In the 21st century, philosophy and psychology are moving away from the soul. That is because it requires an ethical, moral, or religious viewpoint to describe them. But literature is still allowed to write the soul. Nietzsche described vengeful feelings as Ressentiment. By morality, the weak demonize the strong. This inversion of values is weakened in Agatha Christie’s “And Then There Were None”. Murderers took pleasure in the guise of revenge by proxy. They were not killed with such vengeance or moral slavery.  It all comes down to poems and puppets by ten Indians, killed and gone. The artist’s need for approval is said to be greater in the story, which explains this killer. His hidden desires and the realization of his pleasures took place on an isolated island.  If he had wanted social honor, he would not have committed such a crime. He threw away his confession in a bottle, not knowing whether it would be picked up or not, which is another way of checking the soul. It is a “Mob Justice”. There is an impulse that can only be asserted in this way. In literature, “Mob Justice” is not an actual sanction. He throws his confession into a bottle, not knowing if we’ll pick it up or not. The only way to be sure of one’s soul is to leave it to chance at last. This is the end of the “Mob Justice”

 I did not select to paint flowers, my quest was collected as a bird’s nest and tried to form and It was a beautiful feeling, both as phenomenology and as poetical feeling. The plants and trees collected by the habits and coincidences of the birds are also the Word of God, but some herbs do not bear the image of God. It is the root rot, the weak grass, the dying grass,

 I would write such an “evil” in the next piece.

Literature and Mob Justice Overview

It took me six years to work on this theme. Writing about cruelty, like journalism, is not about separating oneself from others. Sometimes you have to reveal your own malice.

I dealt with Agatha Christie’s “And Then There Were None” and Bergson’s philosophy. An unfamiliar subject, matter and spirit, is criticized as abstract when read as philosophy, but in the face of a murderous game everyone understands its meaning.

Understood the meaning. Indian dolls represent their lives and die according to an unintelligible Mother Goose poem.

Philosophical consciousness is not a need to be confined to morality or ethics. It means that there is no necessity for religious goodness, and I have summarized these ideas in this introduction. I have tried to make my unpublished novel the main topic of this

Article. Mob Justice is the desire for recognition of the oppressed and erased soul. I do not consider myself a victim of being driven in this way. I will be back.

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The Goldfinch(English)

The Goldfinch Carel Pieterszoon Fabritius

Should be a reflection of something purer.
André Paul Guillaume Gide

On 12 October 1654 an explosion in an explosive’s depot caused a large extent of casualties.

Many Dutch paintings were destroyed in the explosion, and this also damaged the workshop. One of the victims was Rembrandt’s pupil, Carel Fabritius, who was also killed in the accident. This captive bird is still alive today, even though it has lost its owner.

No doubt many people will agree that the “fate” of this painting is the reason for much of its re-evaluation.

Carel Fabritius was an Rembrandt student. His paintings have been influenced by Rembrandt. We can find Rembrandt’s influence in the way he painted light. Rembrandt’s early works show a wide range of colors, but he gradually developed a basis of brown and grey tones, with brighter colors used for the most illuminated objects. He also uses chiaroscuro, a compositional technique that clearly defines light and darkness.

Its influence is also felt by his pupil Fabritius. Overall, the work is completed in opacity, but the color contrast gives the wall a strong light. The walls are darkly shaded by the feeder and the birds as chiaroscuro,  Tarnished natural yellows create a psychological effect of light and shade. What distinguishes this painting from that of Rembrandt, in addition to choosing the bird as a motif, This is using hard paint..Like Van Gogh and the impressionists.

The bird’s background is a flat wall, but we can imagine that what the bird is watching is daylight.

By avoiding all human symbols and imagery, the bird sees the purest things. The light is reflected in her eyes and the imagination is always there. This painting, dressed in “Amor Fati” is a bird who never knew the escape.

This bird lives for a long time and is not capable of flying high.

It was the movie “The goldfinch”(2019) that made this painting instantly famous of our time.

In order to explain the film, a boy and his mother visit a museum and find themselves caught in an explosion. While they escape, the boy steals the goldfinch which has survived. Inspired by the destiny of the original painting of real life, I watched this movie in 2021 with no previous information. The film was inspired by the destiny of the original painting of actual life,and I got a sense of déjà vu from the paintings used in the film.

Had a life of his own for a film accessory. Nothing symbolic at the time, but the color palette was classic. The bird understands the light and is free from superfluous insights. It’s too far from being allowed to exist as a painting, and I’ve seen it before. During the movie, I thought so much about this painting that I didn’t remember exactly what it was about. I didn’t remember exactly what they were talking about, However, the characters began to say that it was a Dutch painting. I looked through the catalogue on the shelf in the other room, thinking maybe I saw this painting once.

In 2012, I was still watching the painting.

I placed a sticky note in the catalogue of Mauritshuis’s exhibition.

The page was “The Goldfinch”. Many Dutch paintings were produced during the boom in microscopic observation, So these are essentially specific tables. Rembrandt’s “Canticum Simeonis” was extremely bright. And Vermeer’s “Het meisje met de parel” tour. I passed by smiling faces art, smiling faces art, and found ‘Goldfinch’ in still life.

It seemed like an incomplete picture. After the human smile, the innocence of the animal, the feathers reflecting the pure light, looked even brighter. In the midst of all these still life’s, observed as the curious mind desires, there is a single and foreign imperfection.

This bird looked at the sky, far beyond the scope of the microscope. This picture was not intended to be framed. Whether it was a piece of trompe l’oeil or a case cover, the purpose of this painting is unknown. In my opinion, the exhibition was not very good, except for the “The Gold finch” and the “Canticum Simeonis” by Rembrandt.

The sound of the birds’ footsteps and the sound of its chain appear to come from a silent painting. Never has this bird been overshadowed by the trials and temptations of fate.

Imperfection, captivity and flight – these three points can strike an agreement with the infirm.

First of all, the downside of not knowing somebody didn’t make it easy for me to talk about that bird. I didn’t have the background or the information to keep it to myself.

The bird hides in the blind spot of memory, but fate so loves him that he comes back alive.

The moment I opened the catalogue, the map of the museum and the advertisements of the museum at that time fell out of the book…Kind of reminded me of a bird wing flapping.

 The way missing memories can be brought back to life is a reminder of the movement of time. Especially when it’s a sign of hope, That’s like a revelation of God.

Loved by fate, this trompe l’oeil, what is it that deceives? Even in the museum, this bird saw the light. A number of times, and through space, this bird sees the light,

I was ready to be deceived again, which made me feel like receiving the light.


Translation, proofreading of past articles has not been completed. I’m finishing up this month.

I am so sorry for the late submission.

The Goldfinch

The Goldfinch:Carel Pieterszoon Fabritius







Amor fati(運命愛)に纏われたこの絵画は、飛翔することを知らない鳥だった。


 この絵を現代で一気に有名にしたのは映画「The Goldfinch」(2019)だった。美術館に母親と二人で訪れた少年は爆発事故に巻き込まれる。少年は、逃げる際に生き残ったGoldfinchを盗みだしてしまう。元々の実在の絵画の運命をモチーフとして作られた映画だが、2021年、私はこの映画を前情報無しで見ていた。そこで使われている絵画に既視感を覚えた。映画用の小道具、という短命の運命にしては生命力があった。たかが鳥の絵ではあるが、背景の色が現代の発想で描いたわりには古典的な描写だった。光を理解していて、余計な思想が無い。絵画一枚として存在するにしては構図が右に寄っている、それにやはり見たことがあった。映画の話が頭に入って来ないほど、この絵のことばかり考えていて、登場人物達がオランダ絵画と言いだしたので、もしかしたら一度見たことがあるかもしれないと、別室の本棚から図録を探した。


マウリッツハイツ美術展(2012)の図録に付箋を貼っていた。そのページが「The Goldfinch」だった。オランダ絵画は顕微鏡等で観察がブームだった時代のものもあり、基本は精密な絵画が多い。レンブラントの「シメオンの賛歌」は圧倒的な異才を放っていた。フェルメールの「真珠の耳飾りの少女」目当てに美術館のコースが決まっている。人間の笑った顔、笑った顔の作品を素通りしながら、静物画のエリアで「The Goldfinch」を見つけた。









The Goldfinch(2019)

L’éternel substitut(jp and english ver)

Le temps est une image de l’éternité, mais c’est aussi un ersatz de l’éternité.


Time is a reflection of eternity. But it is also a substitute for eternity.

Simone Weil (Renoncement au temps)


解説: 永遠というのは時間を伴うが、時間が有限であるのに対して永遠は無限を表す。しかし、私達は永遠を知覚することは出来ない。時の区切りは、永遠の一部、だから永遠の代用品。la éternitéの略。

Explanation: Eternity involves time, while time is finite, eternity represents immutability. However, we cannot perceive eternity. Time is part of eternity and therefore a substitute for eternity.

Sun and Steel (English.ver)

Outline of this post.

In 2018, during my recuperation period after a suicide attempt, I read Yukio Mishima" The Sun and Steel." In it, he wrote about feelings that were neither fiction nor criticism.
He wrote about "confession" at night, "criticism" by day, and a time when he was neither.

I will taste this neither time until 2021.

The book, which was also the subject of a controversial debate at the University of Tokyo (1969), seems not to have been appreciated in Japan at the time. I have been on the road from leaving Catholicism to conversion.
I was struggling to talk about this mortal disease in my story. Would it be non-fiction, or should I force it to be fiction? Whether I choose the sun or the night.

There was also the question of Catholicism and the political uncertainty of the future in Japan. For many years, I had forgotten the poetry of Mishima response to the sun.
In 2021, I have decided to move on to the night (literature).
This involves a lot of interpretation on my part. In Sartre's terms, it is "the other with the subject".

Apologies that this is not a thorough explanation of the sun and Steel.

The” Sun and Steel” was one of Yukio Mishima lesser-known works at the time. After a long time.I read this in 2018 and found much to sympathies with. I read this in 2018 and found much to sympathies with. In the process of writing, some things are difficult to express even as a novel. I too fell into that groove around 2017. Probably every artist. I feel like it comes to every artist. Sometimes we can’t establish ourselves because we are confused by current trends or common perceptions.  Mishima described it as an intermediate form between confession and criticism, “a kind of hidden criticism”.

Mishima is perhaps the only person who has focused on the area of twilight that exists between night as confession and day as criticism.

Sartre’s raison d’etre about existence and essence is that existence precedes essence, but this kind of wayward speculation, a combination of fiction and criticism, is a wandering interior that does not know the outer skin of existence, and is itself an embryo that does not know the outer world (essence).

It is the equivalent of inference, prediction and prophecy. When the result is not yet known, even if we think we have grasped the essence, we cannot be sure. A novel does not have enough material to be written, and a criticism is only an assumption made a few years in the future. But there are times when the feeling is strong.

At such times, I think back to Van Gogh’s Madness paintings.

His paintings were first of all existentially unsuccessful. Later, his brother Theo’s wife succeeded in selling Van Gogh’s paintings and made him into the genius that he is today. Over time, they created the essence of Van Gogh’s paintings. Over time, they created the essence of Van Gogh’s paintings, or the world discovered them.

The Starry Night
This is one of my favorite Van Gogh paintings. I don’t know of any other painting that depicts the stirring darkness so clearly.

I think Mishima is right when he declares in this book that he is not a poet. Poets, like Van Gogh’s paintings, are not afraid of consequences, and they do not fall between confession and criticism. Hermann Hesse is a genius as a poet and Rubaiyat dances without fear of criticism from Christians.

It seems to me that Iran is famous for its poets. Perhaps they are not afraid of death (or the oppression of others). That free enthusiasm, which neither the cooperation of the Japanese nor the argumentative nature of the West can match, is something to be admired and, as a result of more social experience, I think we will never have it again. We all dream of it and run with it, but the tragedy and happiness that we have created with our speculations, from pacifisms, through physical pain, gradually becomes a reality.

When I was young, I would have run without fear. In the midst of it all, joy and despair, like differential and integral calculus, were repeated, and expectation and despair may have exceeded real reality. In the midst of this repetition of the mundane routine, where sleep brings morning and daily life again, I had my moments of real despair.

In turn, disappointment and disillusionment increased, becoming part of the larger reality of the real world.

Gradually, disappointment and disillusionment increase, and the artist becomes part of the larger existential context of the real world.

That’s the end of the artist. It is only natural that he should lose his individuality.

I’m trying to be unique because of my long established taste, but my body is screaming. The days when I used to write poetry in the evening, even if it was bad, seem like a lie.

It was a mistake in the first place to see it as a defeat. The thought of being abandoned by night and day

It will always go somewhere. It is like a long, inflexible Steel. That is how I see it.

In my analysis, Mishima Steel element probably became the sun and led to his suicide.

I have decided, after a long time, to return to the Night once more. That’s when I retired as a journalist. It is proof that I am no longer outspoken about current affairs. The man who lives by night lives for the invisible presence of human sensibility. The man who lives by day lives for the market and the human condition.

There is no right or wrong, because both are necessary.

But when speech and knowledge are wasted, it is tempting to talk about real problems.

Isn’t it the starting point of a literary person to keep that ” babble ” silent until night?

I will not write directly about why I attempted suicide, or the process of my conversion. Instead, I will start to confess, as if in the night, my memories and records were a wild reflection.

In this fictional world, the person who speaks for me is a man and other women, and the story goes on. There is, in effect, a fictional character (a lie). But the essence is not a lie. Within the non-existent outer skin, there is an interior that I have experienced and gone through.

I have read a lot of Mishima during my illness. But I chose a different path from him.

In his writings he wrote

“Now I no longer believe with all my heart in the idea of classicism, about which I was so passionate at the age of twenty-six. I no longer believe in it with all my heart”

I might not have the awe-inspiring ardor of my youth, either. I sympathies with him in this confession under the sun.

But, like the protagonist of the piano tuner I am writing about, I intend to expand the literature to say that sound does not die. In the despair of the protagonist, my inner light is incorporated.

It is with God.

太陽と鉄 三島由紀夫について















星月夜 / The Starry Night



























About perfume (English)

I have tried many perfumes. I have tried many fragrances, some I liked better than Chanel No. 5.The worst of them were the ones that deteriorated too quickly. The worst was the discoloration of the pigment, which made it look unattractive. Perhaps one of the charms of Chanel No. 5 is that it has survived for so long because its golden color continues to shine in its simple bottle even after it has lost its perfumed scent.

A perfume is a symbol of its time. Therefore, when the time has passed, the fragrance becomes old-fashioned. For example, a young woman would not want to wear the perfume that his mother wore, or more specifically, that his grandmother wore. The notes of the perfume change with the fashion of the clothes and the image of the woman. Chanel’s No. 5 remains a survivor in this context.

The perfumer of Chanel No. 5 was Ernest Beaux, a Russian. The perfume that was popular when he was born and grew up was a floral fragrance itself. The aldehydes, essential to Chanel No. 5, are essential to the harmony of the fragrance. Beaux never revealed the formula of the aldehyde in his life, and there is a paper claiming that the prototype of No. 5 was Rallet No. 1, which he sold to the real Rallet company in Imperial Russia. There are many doubts about this article and people’s misremembering and hearsay mislead them.

At the perfumer’s school in Grasse, France, students are given the task of reproducing Chanel No 5. There are more than 80 fragrances included in Chanel No 5. Jasmine, ylang-ylang, vanilla, rose, musk, coumarin, etc. Recreating them on your own is like playing chess with a strong grandmaster. Sensibility, experience and knowledge are the key, but so is light and luck.

Perhaps the famous perfumers who work for Vuitton and Dior have also passed this challenge because they grew up in Grasse from an early age. Jacques Cavallier , the perfumer of Vuitton, in particular, has created several fragrances that surpass those of Chanel. It may be a misnomer to say that he has surpassed Chanel, but he has created fragrances that do not flatter the ordinary people in the declining art world of the 21st century. Even he has not yet reached the beauty of post-degradation. However, I will not lower my opinion of it, because it is perfect among the artists of today, but In my opinion that it will be a difficult perfume to last for centuries. If the intention was to make it exclusively for today, it would be perfect.

There are three types of perfumes: natural, synthetic and concoctions. There are more than 200 natural fragrances, some of which are animal, and the musk in No5 is synthetic according to the Washington Convention.

Those who knew No5 in the 1980s will have noticed a change in the fragrance. And

I’m pretty sure I heard that Chanel No. 5 was reformulated a few years ago after a toxic substance was found in it.

I couldn’t find an article about it. I remembered this because I bought No. 5 again. For a while I used to love the perfumes of Vuitton and Dior, but then I came back to them. Then I felt that the scent was different from before.  Can’t imagine the pretty pink roses from the outside,” Rose de Mai “is the strongest scent of roses, and Chanel No. 5 is like a collection of all the images of roses. However, the recent scent of No. 5 is more powdery and less concentrated. I am sorry if I remember wrongly, but it may be inevitable that the formula changes due to circumstances.

Fragrance is even more fragile than sound. They cannot be stored for long periods of time and, like music, there is no way to record them. It depends on the memory and the record, and even if the record is reproduced, the fragrance can be different depending on the sensibility of the perfumer. It is inevitable that fragrances change with the times. The only thing that can be recorded is the scent, which is our own memory. And it’s not something you can share as much as you might think. Many people may love it, but that doesn’t mean that their friends do.

And since perfumes change their scent depending on the human skin, it’s difficult to reconcile memories, even if your friends love to wear matching ones. Perhaps the scents of the seasons are easier to recall again and again. The charm of perfumes, however, is that they deteriorate and die very easily. In the case of a painter, it would be like the disappearance of an expensive painting, but with perfumes, the price of which, including the perfumer’s labour, is high enough for the average person to afford, we accept the fate of fading away. As Chekhov said, “Simplicity is the sister of genius”, and perfume is a way of simplifying, in a small bottle, what we all follow and what we are attached to.

A whiff of the perfume and I am instantly comfortable in my skin.  It is a moment that will never return. Scent is more solitary than we think, it affects others without us knowing it. The boyfriend who looked back at me and said “I thought that was your perfume” when I arrived, the friend who said that only the scent remained when I left, the hairdresser who said that when he opened his wardrobe and was happy to note that it smelled good, it was your coat. Each of these fragrances makes our memories richer. We are all going to disappear one day, and these little moments are not recorded. We are all going to disappear one day, and these little moments are not recorded.  Some of my friends who have spoken of my scent have already died, and the memory of my memory is slipping away.

It is almost a loss.

I love the fragrance because it does not lie in its transience.

Louis Vuitton

Perfumer: Jacques Cavallier

Attraplave is my favourite. Peony is not available as a perfume, so it is a creation of the perfumer. Probably Attraplave is the closest. It’s not dull, it’s mature, but it shows the lovely impression of Peony.

About perfume









その記事が見当たらなかった。そのことを思い出したのは、再度、5番を購入したからである。一時期ヴィトンやディオールの香水を愛用していたが、ふとしたきっかけで戻ってきた。すると、香りが以前と変わっているような気がした。見た目からは想像できない可愛らしいピンクのバラ、「Rose de mai 」は薔薇の香りにの中で強香であり、全ての薔薇のイメージをかき集めたようにシャネル5番は演出している。しかし、最近の5番の香りはそれがよりパウダー化し、濃度が薄い気がした。記憶違いなのなら申し訳ないのだが、情勢の影響で配合が変化することは仕方がないのかもしれない。







調香師 ジャック・キャヴァリエ 



Love is like a flower – you’ve got to let it grow.

Love is like a flower – you’ve got to let it grow.

John Lennon



 Demonstrations against discrimination against Asians started in Time Square, USA. I think it’s stupid and pathetic to discriminate. I think people should be able to enjoy themselves in any way they like.

The public forgets that there are more important things than demonstrations and fighting.

 Pictures would be good to display. They silently tell a narrative.



 死というものは人間の生の果てであり‟Sein zum Tod”ハイデガーで言うところの

死に向かう存在である。死とは何とするのか、何世紀も議論をし続け科学では脳死からと決まった。日本では1999年2月28日に脳死判断の初適応が始まった。日本では臓器提供のために法的脳死判定を行った場合のみに限られる。臨床的に脳死状態とされても、臓器提供を行わない場合は法的には脳死とはならない。人間は意識がある間は、死という現実に向かって夢想する他ならない。メーテルリンクはオカルトの領域を犯しながら「La Mori(死の存続)」で己の臨死体験と死への考察を残した。文学世界は実は「愛」よりも「死」のほうが多く扱われているという。最も多いのは「愛」と「死」の組み合わせだろう。



















Vincent Willem van Gogh2





Vincent Willem van Gogh

星月夜De sterrennacht(1889年)








 ゴッホの死後、彼の生きた姿勢は次世代の美術学校の生徒達に影響し、ドイツを中心とする表現主義に向かうことになる。ゴッホの作品は後に研究されるようになり、贋作が増えてしまう。だから本物を見つけるというのが中々難しいらしい。 彼の作品は最も知られている作品でありながらも、彼の自殺の理由と同じように、彼の作品もまた謎は多い。


言葉だけでは、彼は割り切っているように思える。しかし、本当にそんな人間が闇を蠢くように描くだろうか、星に輝きを求めるだろうか。 月が新月へと向かうために輝きを残すだろうか。


ゴッホ 最期の手紙HP





Ranpo Edogawa (2)

 何故 、ハサミかというと

時子の夫は 戦争によって四肢を失い、まるで
なるのかなと思い、私は ハサミにした。

知人はこのデザインを見て、 十字架に見立てたかと思ったと言ったので 中々察しが良いなと思った。 真相は教えませんが。

時子の夫は四肢を失った後、 自分の活躍していた頃の新聞や勲章を眺めていたが、
そのうち飽きてくる。この飽きて夫と妻は情欲だけの時間を過ごしていくのが それも次第に気怠くなっていき、2人はどんどん身体が重たくなっていく・・・・・・

では詳細と 続きはまた今度。

Ranpo Edogawa (1)




江戸川乱歩 「芋虫」より。





私はRanpo Edogawa にしましたが、
Rampo Edogawaというのもありますね。 でブログを始める.

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