村上隆のインスタグラム(takashipom) - 4月4日 21時40分


When we humans must simply endure without being able to do anything, our hearts are crushed by anxiety and our bodies cease to function properly; we need salvation by healing.
Religious narratives, as a form of communication, have long provided healing for people’s souls during such times. Religion has also long constructed a mechanism through which people mourn the dead and carry on the memories of those who are lost. (As I mentioned before, of course, I am referring here to the primordial religion in the conceptual state before it is commandeered for the purpose of seizing people’s hearts, political structures, or money-making mechanism.) Art was always used as a tool to propagate religion and, until the 19th century, was inextricably tied to religion.

Religion doesn’t provide actual remedy or solution for an epidemic, yet people constructed a gigantic Buddha during the time of smallpox. As time passed and when people now look at such religious sculptures without any knowledge of the underlying disasters, they nonetheless sense special trepidation, are greatly moved, and feel healed. How can this be?
When such works are produced, the artists and all those involved continue to work as though in prayer, never stopping until “beauty” that is apparent to any beholder emerges, no matter how many years it takes. As the times change, doubts may emerge, and the purpose for forging ahead may get lost at times. But when they force the production to propel through the finish line, fundamental “beauty” emerges; that is when a work worthy of devotion is born.
There are many masterpieces among religious art because more religious works could be produced through such a process as funds were more likely to be available. In our time, private collectors have taken on the roll of lending a hand at allowing notable works to emerge.

This work, by the way, took 14 years to complete.
The birth cry of a universe
2005-2019
Gold leaf on FRP 
451.3×268×302.8cm
translation: @tabi_the_fat


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