Mushishi Analysis

Mushishi里的虫不是昆虫也不是微生物，而是一种与动植物共在的寄生者和自然秩序的中介者，绝对中立

虫 in Mushishi are not insects or microbes, but a kind of parasite and mediator of the natural order that coexists with plants and animals, in absolute neutrality

如何脱离奇幻的要素

How to get away from the elements of fantasy

创作起点是童年村子流传的故事，长辈口中的传闻

The starting point for the creation of the story is the stories passed down in the village of my childhood, the rumors from my elders.

虫和世界古老而共通的智慧非常相近

虫 are very similar to the ancient and common wisdom of the world.

森本 哲郎 《日本語 表と裏》（outwardness and innerthoughts of Japanese language)

虫的文字和意象在日本文化中的含义

Meaning of 虫 Words and Imagery in Japanese Culture

人类的无意识领域内存在一股不受意识控制的神秘力量，会在某个时刻突然觉醒，命令人做出一些不寻常的举动

There is a mysterious force within the unconscious realm of human beings that is not under the control of the conscious mind, which suddenly awakens at a certain moment and commands people to do something unusual.

这种神秘力量近似于佛洛依德所说的libido

This mysterious force is similar to what Freud called libido.

虫：无意识的表征符号 Representational symbols of the "unconscious"

但无法被收编为人的无意识，而更接近于语言自身的无意识

But it cannot be corralled into the human unconscious but is closer to the unconscious of language itself

主人公银古（Ginko）是一个没有过去的人，在人生的半道进入了一片黑暗的森林，人进入这片符号森林后，一切有关因果、行动、表意的基础都会发生剧烈的变化，从一开始虫师思考的就是如何和森林打交道。森林如何思考？这样的人最大程度上涤荡了来自自我的影响。这些森林的萨满从定义上来说是白色的。

The main character, Ginko, is a man without a past. He enters a dark forest halfway through his life. When a person enters this symbolic forest, the basis of everything about karma, action, and ideology changes drastically, and from the very beginning Ginko thinks about how to deal with the forest. How does the forest think? Such a person maximizes the cleansing of influences from the ego. These shamans of the forest are by definition white.

白色：不自然，空无、百搭。

White: unnatural, empty, and versatile.

Animism: The thing we share with the world is the spirit or the mind.

自我意识才是一种进化的错误，摆脱不掉的寄生虫

森林如何思考

Speaking of a Japanese insect collector, Hugh Raffles writes:

After collecting for so many years, he now has “mushi” eye, bug eyes, and sees everything in nature from an insect’s point of view. Each tree is its own world, each leaf is different. Insects taught him that general nouns like insects, trees, leaves, and especially nature destroy our sensitivity to detail. They make us conceptually as well as physically violent. “Oh, an insect,” we say, seeing only the category, not the being itself.

智能和思维的特质不是对于细节的辨识和区分，而是非区分

The quality of intelligence and thinking is not one of recognizing and distinction for details, but of indistinction.

它通过遗忘和混同来运作

It operates by forgetting and conflating

记住事物的所有细节，并没有思维的能力

The ability to memorize all the details of things and not have the ability to think

脱离普遍名词的陷阱，但是会失去人的感知作为代价，迅速遗忘万事万物的分野。

“mushi” eye： Get out of the trap of universal nouns, but will lose human perception as a price for quickly forgetting the divisions of all things.

栖砚之白

1. 砚台、制砚工艺选择
2. 砚台制冷效果
3. 女制砚师个人悲剧
4. 砚台、噬云之间的对撞

砚台

文房四宝 日本艺术家对物和工艺品的迷恋 有时候这种精益求精迷恋超过了作品本身

砚台是艺术 艺术家每一笔墨水来自于一个已经制作出来的作品

栋方志功

我建议一位门外汉将印度墨汁刷在一个未经雕琢的木板上，将纸放在上面印刷。他会得到一张黑色的版画，但他最终获得的不是墨汁的黑色，而是版画的黑色。

对木板进行雕刻，会赋予版画更大的生命和更大的力量。无论我雕刻的是什么，我都会拿来和未经雕刻的全黑版画做比较。并问我自己：哪个更漂亮？更有力量？更深刻？更宏伟？更运动？更宁静？

如果还有哪个地方比不上这块未经雕琢的木头，我就没有创造出自己的版画，我就输给了木头。

不凭借与客体的肖似获得价值，而是试图超越并升华原料本身给人的感受

如果一个人的笔墨比不上砚台本身的品质，那么他就没有创作出属于自己的作品

砚台材料取自自然，前身是底层深处的岩石，作为自然物它保留了时间造物的所有痕迹

自然的index

康德到阿多诺 自然美是缺席的

东亚艺术：古老艺术的背后是精妙至极的宇宙图景

不要求纯人为的艺术去揭示某种超然的绝对精神

艺术史必须参与到自然史进程中

抱山之衣

画师失去了故乡的风景，就失去了作画的能力