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国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ① Myth of the sun and the moon HIDEKI FUJITA Born in Tottori prefecture 1967- [About the work] Yonago is a small town, but I had the impression that it was a relaxing time. Compared to the masculine and harsh climate of Shinshu, where I currently live, the scenery of the wide sky, the Sea of Japan, and the towering mountains of Oyama gives me a feeling of a broad motherhood that gently envelops everything that lives there. .. You may feel that because it is the land that is the origin of yourself as a pasture. I wanted to make a sculpture centered on a female image as a shape that symbolizes the city of Yonago. The sun and moon in the background represent the daily activities of the people who live there. The title of the work is "Myth of the Sun and the Moon", but there is a special story and it is not such a work. Through this work, I hope that you will feel the story in the lives of each person who has faced the work. What I can clearly see in this work is a story made in the hot summer sun with many people involved during the symposium, and after daily production, talking in the dusk. It is a story that has been spun. I hope that the various events of one summer will be recollected through this work as a memory of everyone and a story of a sculpture symposium under the sun and the moon. [Production] 2006 Yonago Sculpture Symposium [Session] July 15 -August 26 , 2006 Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ⑳Mound KEICHIRO MOMOSE Born in Nagano prefecture 1950- [About the work] When I first visited Yonago, I was impressed by the spacious and gentle mountains and the spacious sea. The mountain-shaped work of the "Mound" series, which I had been working on in a small studio in a building in New York for a long time, and the image of the scenery of this place fit perfectly, and I got the opportunity to make it here. I felt more than just a coincidence. When I actually started making it, I met the people who made it possible for me to make it here, and realized how many people are supporting this symposium. I am convinced that this one and a half month experience in Yonago will be a part of my life and will be a great foundation for my future life as a writer. [Production] '96 Yonago Sculpture Symposium [Session] July 13 -August 25 , 1996 [After the '96 Yonago Sculpture Symposium] Yonago, the legend of Ryugu Castle ... the mythical world ... It was in mid-July that Yonago landed in Yonago, where the heat is getting hotter every day. Two days before the symposium begins. I started the production in an environment surrounded by nature, such as mountains with a lot of greenery, the coast with pine forests where the bright summer sunshine shines, and the Nakaumi and beautiful coves shining in the setting sun. It was the first time in 15 years to produce in Japan, so I encountered various difficulties on the way. Production within a limited time was a big pressure for me, who is always non-spiritual and self-paced, but I was able to continue production as planned with the help of the artists participating in the symposium and the planning committee members. .. The theme of the work is the "Tsuka Series", which has been going on for a long time, and it has a shape reminiscent of the mountains of Yonago, which has a roundness like a bowl, and Shiroyama, where the castle used to be. The landscape with mountains shaped like a burial mound and the appearance of mountains with many bamboo forests are reminiscent of the original landscape of Japanese mythology. As a Japanese artist in New York, I continue to pursue my origins, and I feel that it is no coincidence that I was able to place my work in Yonago, where the beautiful old-fashioned nature remains. do. On the day when the sculpture shaped like a mountain made by stacking stones called slate was completed, we asked three children and four adults who were there to carve the 1996 record on the stone. I put it inside and made it a memorial. By the time the children grow up and become fathers, we writers and symposium officials may no longer be in the world. But perhaps the 1996 record will remain in their hearts forever. With that in mind, I finished stacking the last stones. After the symposium, the day before I left Yonago, I was able to have a quiet time by staying in a place overlooking the Sea of Japan. When I was sitting toward the rough sea in the evening, a houseboat about 5 meters long made by combining bamboo was rushed to me. It must have been used for some event somewhere. The next day, when I was looking at the sea at the same place early in the morning, this time the fish were jumping all over the sea as if they were flying in the sky. Two hours passed while being stunned, and when I noticed, Oyama, who had a faint purple color, clearly appeared in front of the morning sun. It was a mysterious sight. It seemed to me that I was in the world of Japanese mythology. On the way back from Yonago, I got a lot of souvenirs from the princesses. The most important of these is the Tamatebako. What exactly is inside? Urashima Taro couldn't keep his promise with Otohime and opened the Tamatebako and became a grandfather. What's wrong? It's not a lesson from Taro Urashima, but it's not a bad way to live as you grow older without opening the Tamatebako, keeping your promise with Otohime. Brooklyn winter 96 Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] About Yume HIROSHI HAYASHI Born in Tokyo 1955- [About the work] My work will be left as it is, as you see and feel it. I think it's best to leave it to the sensibilities of the people who see the work. However, in embodying the image of the work, I am based on the inspiration that came from the impression of Yonago City, the landscape of the installation location, and my own way of thinking about sculpture. My theme in making sculpture is "what can I do through sculpture between my child and me", which is also based on that theme this time. It would be great if the children could give their free impressions by looking at my work. [Production] 2000 Yonago Sculpture Symposium [Session] July 22nd -August 30th , 2000 [Participating in the Yonago Sculpture Symposium] I was surprised at the sudden heat at the opening ceremony, but the comfort of the breeze helped me a lot throughout the session. Being near the sea was a very special thing for me, who often plays in the mountains and rivers, and it was also a luxury time. The water in Nakaumi didn't look very clean, but I never got tired of looking into the water every day. The goby, which was still small when it came in July, had become a magnificent fried size by the time the work was installed. Also, if you go a little further, you can enjoy the beautiful Sea of Japan, delicious seafood and sea play with your family who came during the session. I was able to climb Oyama after the installation was completed. It was a mountain with a height of about 1700 meters, but when I climbed it, it was quite steep, and I, who was supposed to be a good leg, was a little stubborn. As I walked along the mountain trail, watching the rattling and collapsing valleys, I noticed that there were many young local families. Light mountaineering and hiking are also popular in Tokyo, but most of them were middle-aged and elderly and felt the aging of the mountaineering population, but this time Oyama is said to be because families with small children are happily climbing. It's not that, but I felt very happy when I greeted the passing children and Konnichiha. I thoroughly enjoyed the sea and mountains, but unfortunately I couldn't play in the river. I couldn't go to my favorite mountain stream fishing, but I will save it for the fun when I come next time. Even though it is a big city like Yonago, there is a lot of nature around it and I felt that it was a really well-balanced town. Among the impressions of Yonago that I had, such as many beautiful women, no trash on the road, and no Seven-Eleven, I liked the good distance between the city and nature. I didn't mean to just play around, but my honest impression is that it was a fun summer. The three seniors I worked with were all good people, and thanks to the staff who responded wonderfully to the selfish writers and, above all, the volunteers who took care of me, I had this impression. I think. Thank you so much. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ⑭ seashore Festival TSUYOSHI TANAKA Born in Miyazaki prefecture 1951- [About the work] When spring comes, the rocky shore seems to be spring, and people can see the seaside creatures coming out and playing. This work is also a work that wants to express the interaction between people who want to do it at festivals and things that symbolize seaside creatures (similar to jellyfish), if it feels peaceful. I think. [Production] '94 Yonago Sculpture Symposium [Session] July 16 -August 28 , 1994 [After the '94 Yonago Sculpture Symposium] From Okayama, I took a train, talked about the drunken people and the natural environment, was struck by the appearance of Oyama, and got off at Yonago for the first time. After staying overnight, having a meeting, seeing the stones, and feeling on the return train, I thought I could do a good job. To be honest, I was tired for the first ten days. A word of "hot!" Even though I was born in a tropical country, I answered. Record heat, record tiredness for me, but work went smoothly, and it was the first Chinese stone I was dealing with. I think that this attempt using the was achieved to some extent. During the period, it was a quarry of Kimachi stone, Izumo Taisha, Mihonoseki, Mizuki Shigeru Road, and a day trip, but it was a learning experience. Also, when I was bathing in the 7th class, I was stabbed by a jellyfish, and I wondered if I was happy or angry with the jellyfish I made, but the water and clear scenery were good, and the sashimi It was good. It was a day to relieve my tiredness. I think that the last forum was also the most fruitful forum I had, as I could hear various opinions about the relationship between city planning and sculpture. Yonago also hopes that a comfortable town will be created in which people and the cityscape are in harmony with nature. It was a series of hot -----, but it was a good summer for watermelons. Also, I want to eat that watermelon. Thank you to everyone in Yonago. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ⑦ Fossil town NO.3 Masaru Ida (KATSUMI IDA) Born in Tottori prefecture 1956- [About the work] Fossil City NO.3 ... Egg 2 considers personal involvement with the city by incorporating one completed shape like a boat, or a form like the ruins of the city in one universe. I wanted to express a space that would make me feel. Therefore, it seems that this work will have different feelings and perspectives depending on the viewer, and I would like it to be the same as the work. [Production] '90 Yonago Sculpture Symposium [Session] July 29-August 31, 1990 [Participating in the '90 Yonago Sculpture Symposium] Various forms of sculpture symposiums were held nationwide this summer, but there is no other symposium like Yonago that is truly a volunteer spirit of the private sector. At least as far as I know, it seems to be only Yonago. This is, on the one hand, very pure and an ideal form. On the other hand, I think there is also the weakness of being a volunteer. In other words, from the management point of view, the responsibility tends to be ambiguous, and I think that the wrinkles tend to be apt to be given to a specific individual. Every time I saw the people who suffered from those wrinkles struggling while making the work, I, who is from the local area, had to feel very complicated. Also, as a writer, the 35-day production period was a little short, and it seemed to be one of the shortest examples of a current symposium, and it was physically and mentally painful. However, since the beginning of August, there was a person who worked as a helper for the writer, which was a great help. I would like to thank the people who washed their work clothes every day without complaining, the people who prepared the fund-raising activities and equipment, the people who continued to take pictures, and the people who cooperated in various insertions. think. Then, on the final day of the symposium, I was impressed by the fact that the secretary-general was crying in his eyes, probably because of the joy of completing the work. Finally, when each artist went home, I had the people involved in the symposium see me off, and I was deeply moved. Some writers said that they couldn't get out of the car because they were about to tear, but I think they all left Yonago with the same feelings. As the theme of this time, "Encounter Fureai," I am full of gratitude for being able to complete the sculpture through the encounters between volunteers and the artist and the emotional contact. Thank you very much. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 Around Yonago City Cultural Hall * Click to see the work information and the state at the time of production.

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ③ Hippotamus NOBUYUKI AKECHI Born in Tokyo 1963- [About the work] I made a hippo sculpture in front of Yonago station with a basalt called Yakumo Chokuroishi from Shimane prefecture next door. The yellow part on the surface of the stone is the same expression as it was dug out of the soil. While making the best use of the shape of the rough stone, I expressed a hippo watching everyone's way back and forth in front of Yonago station. The water place where the hippo lives prospers abundantly, and it seems that various creatures gather. We hope that this "hippo" will become a new meeting place for Yonago and will be a guide for Yonago, a "town with sculptures." [Production] 2006 Yonago Sculpture Symposium [Session] July 15 -August 26 , 2006 [Message from the writer] 3/16: For a symposium meeting, head to the meeting place while watching the sculpture road with Yonago on the sleeper limited express Sanrai cloud. 3/17: On the way back, I got on the last train of "Izumo" (an orange diesel car pulls the blue train) (pride) 4/28: I went to Yonago again to see the basalt in Shimane prefecture that I had been looking for to make a "hippo". I made a model of a hippo to match the stone. 7/14: Arrived at Yonago with a lot of luggage in the car 7/15: The opening ceremony is sunny and reminded that "the game is in July" 7/16: Record heavy rain for about a week from this day 8/1: It's August, so when I was thinking "Is the game until yesterday?" 8 / 4-6: Fureai Sculpture Class Everyone did their best with Mr. Chikada, the previous participating artist, as the main instructor. In the sculpture class, I tried to keep my hands out as much as possible, but in the last 30 minutes I carved it completely. "Kevin-kun" I'm sorry. Kevin carved the back of his head with the nickname of the head statue. 8/21: There were various things, but since the "hippo" was the best glue and the truck in front of Yonago station could not enter, everyone pushed and moved using the "coro", and the hippo proceeded with the sled in front of the Yonago station. .. 8/25: Citizen's Forum Many people came from far away. 8/26: Closing Ceremony For the first time, you can see the work that perfected the scenery. 8/27: When I was taking a picture with a sword, I was asked "Which Wagyu is this?" Umm?. It has been said for a long time that "the symposium is until I get home," but it was August 30th if I had made various detours. And now, I'm writing this with the feeling of an elementary school student collecting homework for the summer vacation. Thank you for participating in the 10th Yonago Sculpture Symposium. I think I had various encounters every time, but I am grateful that I participated this time and had many encounters unique to this time. The place I could put it, the work, the stones I met, and the many people I met were the best. I just got to know Yonago for the first time this time. We look forward to your continued support with the sculptures. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 Around Yonago Station / Western General Office * Click to see the work information and the state at the time of production. Out of gallery

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 Around Yonago Station / Western General Office * Click to see the work information and the state at the time of production.

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ㉓ Crust-COCOON.Ⅲ ATSUO OKAMOTO Born in Hiroshima 1951- [About the work] I've always been thinking about the sea these days. The spirit is endlessly sucked into the swell of the tide, which contains countless lives and memories of life. I keep thinking of waking up in the warm amniotic fluid of the planet Earth. Recently, the shape of the stone I am trying to make has a strong admiration for the sea, and I continue to want to bring out the life-threatening shell-like shape and the eros accumulated in the crust. It's also my own cocoon. [Production] '98 Yonago Sculpture Symposium [Session] July 18th -August 30th , 1996 [Photo of Yonago Sculpture Symposium] I have just begun to organize the photos that had been piled up in the left corner of the desk for a month and a half. This is a picture I took with Yonago this summer. It's fun to shoot with the camera in one hand, but the post-processing is actually difficult. If I'm serious about shooting and it's the adults who take responsibility until the end, I'll never be a kid. I can't become a professional adult forever because I can easily solve the problem because I am a sculptor. Aside from the digression, I will check the stacked photo bags one by one. Oh, suddenly Mr. Oi laughed and came off the screen. This is a picture of Mr. Motoike's dinner party. The bigger the subject, the bigger the picture. Mr. Hirai stands under the tent with a bowl and a bowl lifted. A wife wearing a yukata stands on the side in the same dress, and the people around her are laughing and clapping their hands. This is called the ultimate rattan phenomenon at the Yonago Sculpture Symposium, but it is actually singing the procession of the saints. Mr. Yamada is similar to Chaplin. No, Andy Warhol, who is actually the same person as Jean-Francois Dumur, is seen by Hanako as a yukata. This is a picture of when I went to Mr. Suzuki's house. Jesse and the author wrap a towel around their heads under the tent and sip spaghetti. They are tall, good guys, innocent, well-eaten, well-worked and promising young assistants. Tomomatsu-san's Bermuda shorts, T-shirt, and baseball cap on the claws are an eternal naughty boy. Mr. Funakoshi is a person like a baseball umpire, and you can understand what he is saying just by looking at the pictures. Mr. Ida is tight and Mr. Adachi is very gentle. Mr. Motoike, who doesn't look like me, Mr. Fujita, who is always serious, Mr. Ima, who doesn't appear on his face when he drinks but is happy to see it in action, and Ida, whose head ratio is emphasized. Mr., Mr. Shy Yanaka, Mr. Iwasaka who is always quiet, Mr. Omori who aims to be a camera adult, everyone is in the picture. If you check it in this way, there are few photographs that are working on the sculpture that should be the main one. I didn't spend a month and a half seriously, and I was absorbed in sculpture during the day, so I didn't even think about taking pictures. This fact faithfully tells how seriously he took his work during the symposium. At the end of the arrangement of the photos, a commemorative photo taken together in front of the installed work came out. Everyone has a nice face and everyone gently inputs to my heart's album. The pile of photos on the left edge of the desk moved to the right edge of the desk and became a mountain again. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 [Title of work] ⑬ Scenery with a bridge KENJI TOMITA Born in Shimane Prefecture 1947- [About the work] Humans have expanded their living sphere endlessly by the way. There, he encounters various obstacles, and once he is hindered and stands up, he eventually tries to overcome them. The bridge seems to be a concrete expression of the power of human will to overcome obstacles. There are now numerous bridges in the natural and urban landscapes, not only over the waters of rivers, lakes and straits on the extension of the road, but also vertically and horizontally above towns and villages, like railroads and highways. I will go beyond it endlessly. The bridge was more than just a means of overcoming obstacles, it must have had special implications such as wonders, longing, and friendship with the neighboring living area and cultural area that we haven't seen yet! [Production] '94 Yonago Sculpture Symposium [Session] July 16 -August 28 , 1994 [After the '94 Yonago Sculpture Symposium] Even though it has become very difficult to carve stones in the city, the eaves of Shiroyama will be released for seven years for the production of masons. Where does that laid back come from? It's been a summer, 45 days, and I've been wondering. In the midst of the heat and drought, as well as the tragic news of water shortages from all over the country, the people of Yonago have a calm, no-confident look. Where does that space come from? The magnificent terrain that swept away the white sand will surely bring abundant water sources and fill the life with moisture. I remember thinking that if the water was cut off, I would draw the water from Nakaumi into a bucket and use it to polish the stones. It seems that it wasn't so long ago that various livelihoods were created in the hands of people, and materials and tools were overflowing on the roadside. The children were strangely excited about the process of completion, and embraced wonder and envy, and fled to the unknown world. The four sculpture symposiums not only put a stone in the redevelopment project, which tends to be carried out in a hurry, but they must have an impact on various fields in the future. All the materials, such as wood, paper, iron, sand, and thread, which have been soaked in abundant water and produced along with the town's appearance, are also waiting for the opportunity to "encounter and interact". I think the sowed seeds will germinate and bloom because of the fertile soil. It was the first long stay in 30 years for me, who grew up in Yasugi City, which is next to the station. Thank you very much for the warm and friendly welcome of the town of Yonago, which I had passed by when I returned home. The ridgeline of the shore, which weaves between the sea and the land, lives on forever in my drawing book. Return to photo

国内外の彫刻家を招き、1988年から2006年まで隔年で開催された米子彫刻シンポジウムで制作された36体の彫刻は、米子市文化ホールから湊山公園までの新加茂川沿いの遊歩道約3キロにわたり設置されています。米子彫刻ロードは「美しい日本の歩きたくなるみち500選」のひとつとして選ばれるほど美しく、情緒に満ちています。 Yonago Sculpture Symposium Trajectory August 25, 2006 Professor Katsumi Ida, Tokyo Zokei University The world's first sculpture symposium was proposed in 1959 by a writer named Karl Plantel of Austria. In fact, in 1957, when he was asked by the government at the time for a stone monument to determine the position of the border between Austria and Germany, he wondered if he could make use of it in university classes based on his experience of carving stones outdoors. I was struggling, but it seems that it changed to what I should do if I invited writers from each country to make works in Japan. At that time, 11 writers from 7 countries are certainly participating. Since it was 1959, it was 1959, and the participating artists at that time returned to Japan and started symposiums in each country. A symposium was held in the former Yugoslavia in 1961, and Japanese writers came to be called at several times. With that as an opportunity, there will be a movement to hold a symposium in Japan as well. The first event held in Japan was in 1963 in Manazuru, Kanagawa Prefecture, in anticipation of the Tokyo Olympics, hosted by the Asahi Shimbun. Since then, it has been held in various places such as Shodoshima, Hachioji, and Hagi. Yonago will hold it at Minatoyama Park in 1988 and 1988. In a sense, I thought it would be almost impossible to do just by raising funds, but it was just around the time when Japan was about to enter the booming economy of the bubble, so from the outside, there was a historical background. I think I was lucky to start. From the outside, it was suggested by only young people from the private sector, so there were various mistakes, and there was a time when the government did not receive any assistance and there were only two executive committee members. There are only two people. When I was at a loss because no one listened to me, I was able to meet Mr. Iwasaki, the late president of Sanin Shinpan, and when I consulted, he said, "Do it!" Then I have a deficit, so do it. " I felt like I could do something about it, but I realized that we couldn't do anything alone in creating an organization, so we had to have someone who would be the core of the organization. I was asked to become the secretary general with the feeling of deceiving Professor Tomomatsu because there must be someone who can talk properly with the government (laughs). Finally, I was able to stand at the starting point for holding the symposium. As for the material of the stone, 50 tons of granite will be provided free of charge from Mr. Mitsuda Stone of Okayama City, and it is good to get it for free, but at that time it was decided how to transport it from Okayama to Yonago. Thanks to Mr. Tomomatsu's efforts, Mr. Hatsuma will be able to carry the fare for free. When it comes to what to do with the crane when unloading it, I felt that it was free because Mr. Hattorishima had it (laughs), so I asked him to do it almost for free. Is that the good thing about Yonago people? I think that everyone was very supportive of the start, as they were interested in things that seemed interesting. However, for about two weeks after it started, I try hard to raise funds, but I don't collect. Only about 30% of the planned amount was collected. So it was in front of Obon, but Mr. Tomomatsu called me and let me go to a private room and said, "I'm going to do it." I thought that Mr. Iwasaki would be able to do something even if I was told that, but Mr. Tomomatsu seemed to think that he would not cause any inconvenience, so he paid the insurance money. I was told to sell the land because I am a farmer because I will cancel the contract. In other words, I felt that I was responsible for that much, but I thought that if Mr. Tomomatsu canceled the insurance money, the person who was deceived could not help selling the land (laugh) ), When the Obon festival was over, money suddenly started to collect, and the amount of money raised was much larger than planned, which was too much to run the symposium. In some cases, boys donated coins in bottles, and in some cases, an old woman over 80 brought rice balls for the writer. The spread of such support continued until the last day. I was physically distressed during the symposium, and I was honestly wondering if it would end early, but in a sense it feels like the best symposium. The signboard of the Yonago Sculpture Symposium was also hand-written by the members of the executive committee. We repaired the abandoned tree, painted it with white paint, and wrote it together. I haven't placed an order with a vendor. We did it all together. I wonder if someone was watching that kind of figure. In such a nice atmosphere, the works were completed with good momentum from the writers, but I explained to the writers in advance how to set up the works and where to set them up, but the final step is unclear. I started as it was, so in the worst case, I couldn't install it for about half a year after the work was completed. In some cases, we couldn't get an agreement with the artist about the place we wanted to install, we couldn't get an agreement on the receiving side, and it was extended for about half a year. That was a great lesson, and at the time of the second (1990), it was necessary to clearly decide where to install it before doing it. This is the only example of the 10 symposiums, but the pedestal of the work was decided first. From the writer's point of view, I thought it was a pretty terrible environment, but since I was doing it under the initiative of the private sector, it would be extremely difficult to install it, so I installed it a second time in a fairly forcible manner. Did. As a result, the current sculpture road plan came out. From the 3rd time (1992), there was an opinion that it would be a good idea to put it on a pedestal like a square box, and I decided to get rid of it because it was justified. At this time, the sculptor and the secretariat probably did the most clearly in the 10 symposiums (laughs), or I think that there were the most discussions. As a result, it is now possible to place the sculpture on top of the interlocking as it is now. At that time, the sidewalk next to the Cultural Hall was made with a national subsidy, and the completion inspection had not been completed yet. Therefore, it would be a problem for the government office to get rid of the plants without permission or to peel off the bricks. However, from the standpoint of the artist, it is natural that if you want to set up a work, you want to make it the most environmentally friendly and regrettable form in the future, which is the conscience of the artist. Discussions about what to do in it continued like every night. It was a symposium where stones were carved during the day and installed at night. Among them, Mr. Matsuoka, who was the director of the urban development department of Yonago City at that time, said, "I'm not talking about this because everyone thinks it's bad. How can everyone be good for Yonago? I'm discussing whether it's okay, so as a result, it will be better here, so let's get rid of the planting, if it's okay to peel the bricks, that's better, I think it's okay, so I'm hungry if anything Let's do it with that. " I have met many government officials in both Tokyo and Nagano, but for the first time I have met those who have been told by the citizens. Thanks to this, the installation method has become ideal. Around that time, the "Yonago method" was formed, and the language was born and spread throughout the country. Therefore, I feel that the third Symbodium is a turning point in Yonago, or the initial completion stage. It was the 4th time (1994), and Mr. Tomomatsu has been managing it as the secretary general from the 1st time, but at the same time the way of collecting donations becomes very bad, there is no place to install it from the city planning section. So, the executive committee decided to put an end to it for the fourth time. So this time, I saw Oda Shoreler from Germany, as I was asked to call overseas writers, and if I wanted to call them, a beautiful writer would be good. -Since the symposium is over, we invited all 17 past writers to a forum. At the table, Mayor Yonago Morita asked me to continue, so the city later formulated the "Basic Plan for Town Development with Sculpture" and obtained the approval of the city council. In this way, under the initiative of the city, it was launched in a new form based on the know-how of the private sector from the 5th (1996). I think it started with a much better feeling than when I was doing it in the private sector on a budget, and it is environmentally better than before. The problem is that in the case of the private sector, audits are tentatively done, but it is not as strict as the local government, so it was relatively easy to collect funds, but it became difficult to do that, and there was a place for interaction between the general public and the symposium. I think it is a fact that it gradually shrank. Looking at the basic plan for town development with this sculpture, the year of completion was when I was 78 (laughs), in fact. So now I'm wondering what that is supposed to be. However, I was enthusiastic about it. After that, the supervisor moved to the Board of Education, and it is still up to now. In the meantime, he received the "Tottori Prefecture Landscape Award" in 1994 and was selected as one of the "500 Beautiful Japanese Ways to Walk" in 2004. In a sense, it can be said that it is a symposium that has been highly evaluated by other organizations and other parties. Also, although it is a rumor among sculptors, I have heard that attending Yonago's symposium will be the status of stonemason and sculptor. The writers you can see here are also those who have overcome considerable difficulties. A few selected from dozens of candidates. Perhaps in the early days, even the selected people didn't even realize that they were listed, but in secret, they spent six months to a year collecting materials, analyzing the writers, and selecting the writers. I did it. The other day, I met a cameraman named Mr. Fujita who has been shooting stone carvings all over Japan, and it was said that there is no other example that works as well as Yonago's carving road. You can't understand it without comparing it. Many Yonago citizens do not look at or compare the sculpture installation status in other cities, so I think that there are places where (Yonago's) sculpture road is not good. If you look at it without comparing it, you will see the problem first, but I have seen various places, but I think Yonago is quite good and the quality is high in terms of installation. .. I thought a little about the pause this time, but if I pause, who will maintain that sculpture? I think that it is a very important part whether it is a judgment that has been considered so far, so I hope that everyone will think hard about that. After that, there are many cities overseas where sculpture is familiar. Not only sculpture but also art is familiar, Kyoto is also a city, but there are many beautiful cities. Considering why it is such a city, I think it is all about the maturity of the city. Whether or not the city is mature, whether or not the city life is mature, and whether or not the symposium will be stopped or not, I think it will be one of the perspectives. As an example, there was a symposium that lasted for about 20 years in the city of St.-Wendel in the former West Germany, where one or two writers were invited to live for three months to a year, and while living, they worked. If you make it. There is a road leading to Rome, where the Crusaders also passed, but there is a project to put stone carved things from the side of that road, so there is a way to do that, so whether you do the symposium or not, the city If we don't think about whether we are mature and whether our lives are going to mature, it will be ridiculous, or the 20 years we have done so far will be wasted. I feel like. return