アガペーのうちにあるエロス

The sensuality of the silence

Yoshiharu Sasaki
Member of Science and Art Committee,
Iwaki City Art Museum, Japan

Humans made of the mud. In the epic poem Gilgamesh, from Ancient Babylonia, it is written that the Goddes Aruru created the first human from mud, kneading and baking it, according to ancient methods practiced since prehistoric items.

In the ruins of the initial periods of the first Egyptian Dynasty are to be found the reliefs that portray Khnum, one of the gods of creation, working with the potterer’s turntable to create a man of black soil called Kemet. It is said that in Ancient China, the first goddess made humans out of mud, but soon, as she grew bored of the time-taking task of creating humans, started dragging a thick rope, which slinged more mud, out of which more men were also created.

The episode in which those men which were made delicately became rich and those made randomly because poor is an addition of recent times, but nevertheless an interesting one, as it in much corresponds to Chinese idiosyncrasy. In Persia and in the south-east of Asia, there is a series of legends accourding to which plants were born in the beginning and from them spouted humans, as in the Japanese poem Taketori Monogatari, in which a beautiful girls is born from a bamboo stem.

According to the Old Testament, the first man, Adam was also made of earth. The Goddess of Discord, the beautiful Pandra, was also made of earth, from the stratagem of Zeus, and the predecessors of the Greeks were originated from a rock thrown backwards from Mount Pamassos, by the daughter of Pandra and her husband, who survived the Deluge.

In fact, following the Greek legend, man was born from a part of Gaoa, the Earth Goddess. The phase from Satumus, in the Fables of Hygius, recopilated in roman times; “Men are made from fumes, and must therefore be called Humans”, symbolizes the rolation between men and the Earth steimming from ancient times.

In reality, Yukawa works not only with terracotta, but also with marble and bronze. Wood is also among his commonly used materials. However, it seems to me that he can never distance himself from terracotta. Why? Because we cannot be prevented from feeling in his work the sensuality of mud, its silky smoothness and warmth, as it of skin, which resembles the enclosed smoothness of the interior of baked earth.

We can also find in his recent works, after spending period in Italy, an added harmony between reason and instinct, the eros that flows from inside through the limpld skin of wood and mud.

Following a slow process, the world of Takashi Yukwa now acqires universality. I am sincerely happy, but also a little envious, about the fact that the colombians, as far away from here as they are, will be the first to know this important continuation of the works and the universe of Yukawa.