The Pearl of the Sick Oyster - About paintings by Schizophrenie artists (病める貝の真珠）
The Pearl of the Sick Oyster - About paintings by Schizophrenic artists
By Yamada Tadami
山田維史 「病める貝の真珠 - 精神分裂症患者の絵について」 日本語初出「AZ」誌31号、1994年（新人物往来社）
Introduction----Painting the insane
Hieronymus Bosch (1450?-1516?) seems to be an indispensable figure in the theory of fantasy painting. Indeed, all of his works are bizarre, with half-human, half-beast, half-plant, half-machine creatures running wild in the sky and the earth with fervor. A mixture of sadomasochistic screams and screams and the delirious ecstasy of pleasure, jealousy, conspiracy, sexual indulgence, and other brilliantly colored swirls (Figure 1).
In his book "Paintings of the Insane," Rudolf Lemke expresses his views on Bosch's paintings as a psychopathologist. He states that in his own works, Bosch "attempts to express himself through reflective reflection by replacing himself with all kinds of experiences, and at the same time expresses schizophrenic experiences." Moreover, Lemke says that Bosch accurately depicts the expressions of mentally ill patients - expressions of paranoid tension or dementia. For example, the commentary on the work in Figure 1 is as follows:
"Two enormous ears are depicted in the upper left corner of the painting, but the lower part of the back ear is barely visible. These two ears are incompletely formed organs and exist completely alone, which only accentuates the significance of these sensory organs. Small humans are squashed beneath the ears. We feel uneasy about this strange world (E. T. A. Hoffmann named it a "Bosch hallucination"). This is because it disrupts the order of existence. Here, the real world and fantastical images coexist, and the distorted deformation of the human form symbolizes the world of schizophrenia. In this painting we also see the duality of hallucination and real world, the destruction of humans and the abandonment of the "spatial physiognomic order". The arrow piercing one ear can be said to be a typical representation of a schizophrenic experience (1). "
Although this quotation is long, it seems to show that, while there is a clear difference between the objectification of psychosis and the spontaneous drawings of psychopaths, the boundary between them may sometimes be subtle. In other words, it raises the issue of the differences and commonalities between schizophrenic and schizophrenic people.
(Figure 1) Hieronymus Bosch, "Garden of Earthly Delights," right wing, 1503-4, Prado Museum
Right: enlarged image
By the way, Roger Caillois distinguished Bosch's work from fantasy art. He defined fantasy painting as "for a fantasy to be perceived as fantasy, it must first appear as an unspeakable phenomenon that is completely unacceptable to experience or reason." He also judged that Bosch's world of painting is "the necessary and methodological outcome of a persistent will to incorporate everything into the system of a new order," and that "the range of possible transformations covers the entire world of creation and the world of things made by humans," and that it is "brilliantly perverse, like a disassembled puzzle (2)."
I support the Roger Caillois theory. Of course, in art theory, fantasy paintings and paintings by mentally ill people cannot be discussed in the same breath, but it must be said that Bosch's world of painting is the product of realism, with a clear consciousness and devoted observation. If you examine the details of his works, you can find evidence of this. For example, the knife that cuts the giant ear is engraved with the letter M. This is the trademark of the knife makers at 's-Hertogenbosch. Below that, next to a ladder hanging from the hollow of the wooden man's anus, there is a bird with butterfly wings. This butterfly can be identified as a species belonging to the family Acanthidae. Further below that are three huge musical instruments, from the left, a lute and a harp, and the strangely shaped unfamiliar one on the right is a hand-pulled harp called a vielle (also known as a hurdy-gurdy). All of them are precise sketches with an understanding of their functions. Bosch's attitude of drawing without relying on concepts is not limited to objects. Four-line musical notation is painted on the buttocks of the man pinned down by the rope, and Ehara Jun has written an essay about it, so it seems that it is not just random music. In fact, I have a recording of this score performed by the contemporary Spanish musical group Atrium Musice.
In addition, the chromatic composition of the painting also confirms that Bosch's skilled painting technique allowed him to complete his life as a painter without the slightest sign of confusion.
So then, what are the paintings of a schizophrenic like? And what should we understand by looking at them?
Cat hostility -- pre-onset, onset, and devastation of Schizophrenie
As ordinary people, it is extremely difficult for us to understand how schizophrenic people experience themselves and the world. Nevertheless, if we look carefully at the details of Roman Polanski's film "Repulsion," we may be able to obtain a basic, albeit mundane, concept of the pathology of schizophrenia from onset to devastation.
The two or three paintings of schizophrenic people we will be looking at were all collected many years after the onset of the disease. Even in the institution in question, it seems that there are few collections of paintings that show the process from pre-onset to devastation. Therefore, I would like to introduce a famous series that has been collected almost exclusively (Figs. 2, 3, 4, 5, 6, 7).
Louis Wain's Cats
Top right; top (3) Early stage
Bottom (4) Progressive stage
Bottom left (5) Symptoms worsening stage
center (6) Symptoms worsening stage
right (7) Desolation stage
Louis Wain was a popular artist active in London in the early 20th century. For over 20 years, he painted realistic and cute pictures of cats on postcards and calendars, and gained popularity among the public (Fig. 2). However, he lived a secluded life, surrounded by his unmarried sister and 17 cats.
Suddenly, at the age of 57, signs of schizophrenia began to appear in his daily behavior and paintings. He said that an enemy was watching him and controlling his mind with electric shocks.
Wain's paintings from the early stages of the disease express his anxiety and tension (Fig. 3). The cat has its ears perked up and is tense and ready to face the outside world. The previous lyrical background disappears, and something incomprehensible fills the space. As anyone who keeps cats will know, the cat's tense expression in response to the outside world is captured accurately. However, at this point, the "subject" of the painting is no longer the cat, but the artist's own mind is being expressed.
Soon, the cat's fur stands on end like thorns, and the surrounding space becomes filled with jagged linear patterns, as if to express the discomfort of the electric shock that Wayne is feeling (Figure 4).
In the case of schizophrenia, whether visual or auditory, hallucinations are "a revelation of a new reality separate from the real world in which the sufferer actually lives, and a call from that reality. However, as this new world invades the sufferer's consciousness, his consciousness becomes doubled, and he is forced into a state of tension between these divided consciousnesses. For the sufferer, the world around him gradually loses its reality, and the new world that appears in his field of vision or hearing becomes more real and close to him, drawing him in. (3)" says psychiatrist Tadao Miyamoto. Schizophrenic patients are shocked, shaken, worried, and frightened by this consciousness that transcends the real world of everyday life. They often experience this as an abnormal physical experience. They do not know how to deal with this completely new physical occurrence. For this reason, they may complain that they are "controlled by radio waves" or that they have been "given electric shocks."
The geometric patterns in the background of Wayne's paintings are an expression of resistance to integrating the divided consciousnesses. It is also important to note that the patterns are symmetrical (Figs. 5 and 6). Symmetry is one of the characteristics of schizophrenic painting, but it is also a desperate struggle to correct the confused thought processes that invade consciousness, a desperate resistance, so to speak, to the dematerialization of the self as a being in the world.
Wain was committed to a psychiatric hospital, and for 15 years until his death, he continued to paint only cats, while suffering from paranoia. The colors became more garish, and red became more prominent. Formal patterns no longer distinguished the cat from the background. They filled the area around the cat's hostile eyes, and even the wide-open eyes of the demented cat (Fig. 7).
Karl Jaspers said, "The continuous, sustained development of genius creates new worlds and grows in them. Pathological genius also creates new worlds, but it is also devastated in them (4)."
Wain's cat paintings also lost all unity in the end. We would not know that it was a cat if we did not know how the painting changed as his illness progressed, but we must understand from the painting that Wayne has lost his autonomous identity and feels that he is separated from his body, disjointed and fragmented.
Adolf's Court Music--Depicting Auditory Hallucinations
Hallucinatory consciousness is not necessarily a characteristic of schizophrenia alone. And hallucinations occur in all senses. That said, in schizophrenia, auditory hallucinations are a more essential mode of experience than visual hallucinations. In paintings of sufferers, auditory and vocal hallucinations are often expressed as undulating, overlapping wavy patterns that fill the space. Munch's The Scream (fig. 8) can be understood within this category. It may be said that this is a conversion of sound, which is essentially impossible to visualize, into visual discomfort.
As I mentioned earlier, the musical scores depicted in Bosch's works can actually be played. The enormous paintings of schizophrenic Adolf Wölfli, introduced to the world by Swiss psychiatrist W. Morgenthaler, feature bizarre six-line musical scores depicted throughout (Figs. 9, 10).
(Fig. 9) Adolf Wölfli, Negrohole, 1911, Museum of Fine Arts, Bern
(Fig. 10) Adolf Wölfli, Fountain-Island-Ring-Spire-Snake, 1913, Museum of Fine Arts, Bern
Adolf Wölfli (1864-1930) was born to a stonemason and a washerwoman as the youngest of seven children. He spent his childhood in a poor and desolate environment. He was orphaned before he was ten years old, and was placed under the supervision of the community, passed around from one foster home to another, and forced to do miserable labor. At about the age of 17, he fell in love. However, the girl's parents despised Adolf and strictly forbade him from dating her. This may have been his motivation, and he briefly joined the army. In 1890, he was imprisoned for two years for two counts of sexual assault on a young girl. In 1895, he was found to have engaged in sexual acts with a three-and-a-half-year-old child, and underwent a psychiatric evaluation. He was diagnosed with paranoid schizophrenia and committed to the Waldau Psychiatric Hospital. For the next ten years, Adolf suffered from terrifying hallucinations. It seems that he began to paint around his fourth year of hospitalization, but his works from that time were destroyed by the hospital and no longer exist.
When Dr. Morgenthaler first met Adolf at the Waldau Psychiatric Hospital, he had already been hospitalized for 13 years. This was in 1908. That year, probably at Morgenthaler's urging, Adolf began writing his epic 'autobiography', which he would continue to write for the next 22 years.
It was titled From the Cradle to the Grave and was a great travelogue into a geographical world full of dangers. Although the German was strange, it was said that it was possible to understand the meaning. The protagonist, Douffy (as Adolf was called as a child), experiences many ups and downs, including a space war, before finally ascending to the throne as St. Adolf II. The autobiography is 25,000 pages long and 45 volumes in total, and if stacked up, would be over six feet (180 cm) high. It is filled with illustrations of beautiful but strange shapes, like mazes or mandalas. In almost every picture, there is a man's face with black eyes rimmed like a panda, holding a cross on his head. In concentric circles and ovals resembling a vagina... There are also six-line musical notes set into semicircles and octagons. These are court music composed by St. Adolf II.
Adolf Wölfli's drawings have all the characteristics of drawings by a schizophrenic. That is to say, we can point out (A) the pretentiousness of the motifs caused by delusions and hallucinations, (B) an incomprehensible paranoid tendency, (C) a selectivity of expression that makes significant and excessive use of extremely stereotyped patterns, (D) geometric regularity and symmetry, (E) an autistic tendency, and (F) the fullness of the picture plane resulting from spatial phobia.
However, could it be said that Adolf Wölfli's paintings show a major characteristic due to the presence of the mysterious musical scores -- and especially if these scores are based on auditory hallucinations? On this point, I will have to await clinical reports.
I have now asked composer Niimi Tokuhide to analyze Adolf's scores. The following is Niimi's opinion.
Simply put, Adolf Wölfli's scores are impossible to realize (to perform). For example, in the top sheet of music for "Negrohole" (Figure 9), the 2/4 time signature is written, and bar lines and bass clefs are written, but these have no meaning when viewed from the shape of the notes. It is made up of eighth and sixteenth notes, but the timeliness that is its essence is broken, so it should be called notes that are not notes. The form of the music sheet makes it look like two voices. There are ledger lines in some parts, and we can read the image of high and low notes, but it is impossible to judge from this sheet of music whether Adolf expressed external or internal sounds as objects. There is also no material to make a judgment. There is a photograph of Adolf rolling up a drawing of himself into a cylinder and using it as a trumpet to play one of his own compositions, but the sheet of music makes one think of drum music.
Mr. Niimi seems to have imagined an African drum -- a minimal drum like a tom-tom, for example -- and he plays "tsuku tsuku tsuku tsuku..." If Adolf also held the paper tube to his mouth and hummed it, it is a pity that it was not recorded. There is no indication that he had any musical background. However, according to Niimi, even highly educated musicians find it difficult to rationally express on paper the series of sounds that come to mind or the music they hear in their dreams.
It is quite possible that Adolf could have transcribed the music he hummed, but this is completely different from the scores he painted. Nevertheless, the primary concern with his scores in his paintings is not the "musical score" aspect. Adolf was undoubtedly performing scores that he composed himself. We need to recognize the essential difference between what we normally call "expression" and when we must call the work of a schizophrenic "expression."
Adolf had intended to make the final part of his autobiography a "funeral march" consisting of 3,000 songs. It is said that he lamented the fact that it was difficult to complete until a few days before his death. As he approached the end of his life, his words became increasingly confused and finally collapsed. I tried to decipher his writing, but I had to give up on reading any linguistic meaning from his extremely strange, self-taught handwriting and the endless strings of what appeared to be the same words or idioms. Adolf's message, which had become an incomprehensible spoken language, disappeared completely from this world along with his biological death.
The turbulent experiences and space wars of the protagonist Douffy (Saint Adolf II) described in his autobiography may correspond to Adolf Wölfli's childhood experiences, in which he was passed around like an object and suffered hardships. And the musical scores drawn into the paintings may have been evidence of the fierce, painful, and hopeless battle he was fighting to regain the blessed richness of his life, which had been denied him since birth. He crowned himself "Second Generation," a symbol of rebirth, but no matter how many tens of thousands of pages he wrote about it, he was never able to realize his dream of starting his life over again!
Gestalt Landscape - Painting Visions
Salvador Dali created his art with a "paranoiac-critical methodology." Dali feigns madness. His work "Paranoid Faces" (Fig. 11) shows several natives crouching and lying down in front of a thatched hut in the desert. At first glance, it seems like an ordinary image. However, if you turn the painting to the right and stand it upright, the landscape instantly changes into a "paranoid face." Dali's skillful painting process creates a magical and delusional double image. And when he speaks of himself as "a man like me, a man who pretends to be a real madman, endowed with Pythagorean precision in the most Nietzschean sense of the word (5)," he also uses words to link his self-portrait with the 16th-century painter Arcimboldo in the history of the mind, creating a double image.
(Fig. 11) Salvador Dali, "Manic Face"
If you turn the painting of the native crouching in front of the hut on the left vertically, the face of the person on the right will appear.
Giuseppe Arcimboldo (1527-93) served Ferdinand I and was also the court painter favored by Rudolf II. For the emperor, who was passionate about magic and alchemy and collected rare objects, he painted "Portrait of a Librarian" made of a collection of books, a portrait of Rudolf II entitled "God of the Seasons" (Fig. 12) made of various vegetables, grains and fruits, "Atmosphere" made of birds, and "Personified Landscape" (Fig. 13).
(Fig. 12, 13) Giuseppe Arcimboldo
Left: "The Seasons (Portrait of Rudolf II)" 1591.
Right: "Anthropomorphic Landscape"
Regarding the historical background of the mind in which Arcimboldo's work was born, Gustav René Hocke points out the influence of Neoplatonism, which embraces Pythagoreanism and Aristotelianism.
"Neoplatonism, especially Pico della Mirandola, also taught that man forms a whole from various individual elements. According to them, man is an animal that changes, transforms, and disintegrates. In addition to this, there is the "metaphorical" technique in the sense of Aristotelian rhetoric, that is, the "transposition of the inanimate into the animate. Here we are again involved in intellectual calculation (6)." Incidentally, it seems that Arcimboldo studied Bosch.
Incidentally, "Witch's Head" (Fig. 14) painted by the schizophrenic August Neter (1868-1933) is an Arcimboldesque anthropomorphic landscape - a double image.
(Fig. 14) August Neter, "The Witch's Head"
According to Hans Prinzhorn, author of "The Artistry of the Mentally Ill," August Neter's hallucinations changed his perception of reality forever. "It was a Last Judgment, with countless faces, landscapes resembling the human form, figures bearing symbols such as Christ and the Antichrist, and war scenes and the midday sky with "all the beauty of the whole world." Neter himself interpreted this outpouring of images, which came out at a rate of 10,000 per half hour, as a call to realize the work of atonement for sins that Christ could not fully accomplish (7)."
In other words, the hallucinated world in which Neter was caught up is the very world tainted by sin that Christ could not atone for. And he received a command from God to warn the world through his own experiences and to atone for sins as a savior in place of Christ. Neter is said to have been an ambitious and talented man. In 1907, he attempted suicide and was admitted to a psychiatric hospital. He started painting again in 1912. He thought his hallucinations were getting weaker, so he decided to record them. It was probably necessary to realize God's command. It is important to note when looking at "The Witch's Head" that Neter had acquired the basic skills of industrial drawing before he fell ill.
August Neter's hallucinated world may seem to us a metaphor for the ordinary world, but to him, its spatial appearance is real. In fact, it is probably not correct to call his "The Witch's Head" an "anthropomorphic landscape." An "anthropomorphic landscape" is a landscape that looks like a human being, and it is common for us to perceive a landscape in this way, or to have an illusion. The true identity of a ghost is a withered pampas grass. However, Neter is not experiencing a landscape that looks like a witch. Netter's hallucinatory world is one in which the witch and the landscape are connected by an equal sign. It is precisely because this world is evil that it is so.
The landscape gestalt (shape) in the paintings of Arcimboldo and Dali is calculated as a convertible figure and ground depending on the visual stimuli of the time. What can be seen there is a spirit of play. However, in Netter's confused consciousness, the figure and ground have become inseparably homogenized, and I suspect that he is no longer able to perceive the landscape gestalt as a structured organism.
It may be possible to examine the essential differences in painting between the paintings of Arcimboldo and Dali and those of Netter, using perspective as a key word. It is easy to notice at a glance that the former two are paintings based on perspective. As a technical method of "concordia discors," perspective was a product of Pythagoreanism.
It is now common knowledge that perspective is not faithful to vision, but is a highly abstract idea. "It is a world created from the point of view of an observer, not merely standing outside, but standing at a fixed point, an assigned position. If that is so, then Renaissance humanism, insofar as it signifies such an assigned viewpoint, was not humanism at all, but something that isolated humans from the world by making them bystanders. (8)" says the American literary scholar Willy Cypher. Cypher's real meaning is that a world view in which the accuracy of visual measurement is the only "fact" only alienates humans from experience.
However, considering that the sense of depth caused by human binocular parallax is limited to a maximum of 500 meters and that it is impossible to distinguish the depth of two objects that are farther away, our physiological experience is limited and we cannot immediately follow Seifer's opinion. Furthermore, we have come to experience a viewpoint that is far above the ground and floating in the air. And when we lost the scale of perspective, we recognized the instability of existence as a new sensation. The sense of reality of the space surrounding us is a sense of self-existence and must be considered to be greatly related to the sense of visual perspective. If we reinterpret perspective in this way, it can be said that it is something that connects humans to the world rather than isolating them from it.
In the Witch's Head by schizophrenic August Neter, the viewer loses his fixed position, perspective breaks down everywhere, and the unified perspective of the landscape is lost. Please remember that Neter had technical drawing skills. These skills are fully displayed when he depicts the buildings scattered throughout the painting. Interestingly, each building is individually drawn in perfect one-point or two-point perspective with minute detail. Neter does not seem to be in any state of mind when he is drawing a building. It has been clinically confirmed that certain skills can be maintained even after the onset of schizophrenia. What I can point out in Neter's paintings is the loss of the relationship between objects, the confusion of "messages," or "aftertastes," that should arise from the interaction of objects with the mind. As I said before, Neter's visual gestalts cannot be considered as gestalts that normal people perceive as structured organisms interconnected by psychological forces. As Roger Cardinal, professor of visual arts at the University of Kent (who coined the term "outsider art"), has carefully posed the question, I have no material to pass judgment on whether Neter "has hallucinated visual ideas and painstakingly transferred them to paper." What is clear, however, is that what is depicted here is not an objectified externality. It is the state of Neter's own consciousness. The complete lack of relationship between the buildings in the landscape represents his split consciousness itself. It would be a mistake to see in this painting an immature or naive expression.
Here, I would like to use as an example New Hampshire Panorama (Fig. 15) by Dana Smith (1805-1901), a naive painter in the truest sense of the word. This American painter, about whom little is recorded other than his birth and death years, lived in his hometown of Franklin and painted the landscapes of the region. It is believed that he had no art education. The distinctive feature of his paintings is that he expressed his hometown as if seen from the air. What I want to draw attention to is his spirit, and the fact that his paintings are based on the concept of perspective. He lacks the technique of Neter, but there is a lyricism in the relationships between objects, and between objects and nature. His viewpoint, fixed outside the picture plane, is proof of his independent identity.
(Fig. 15) Dana Smith, New Hampshire Panorama, circa 1860. Garbish Collection
Let us return to Neter's painting. His Witch's Head is, so to speak, a Riemannian space, which allows us to understand that Neter is not standing outside the painting and looking at the landscape. That is to say, he is completely consumed by something, and is seeking to be rescued from his disembodied self. Doesn't "the unfinished work of Christ" mean that he was unable to exist as himself? Therefore, it seems to me that the command of God that he listens to is to save himself.
In conclusion
People with developmental disabilities (mental retardation) or severe mental disabilities due to early childhood autism or schizophrenia can have amazing abilities and geniuses. In addition, there are extremely rare cases of people whose abilities are not only amazing compared to the degree of their disabilities, but who are also recognized as outstanding as human beings. This is called "savant syndrome." The former is called "gifted savants" and the latter "genius savants." In the movie "Rain Man," Dustin Hoffman plays a brother with early childhood autism, who could be called a "genius savant." However, in reality, it is said that there have been fewer than 100 cases of "genius savants" in the last 100 years.
Strictly speaking, I cannot judge whether the three schizophrenics I have glanced at in this article fall into the category of savant syndrome, since savants have an IQ of 25 or more, and the average IQ is between 40 and 70. However, everyone will agree that the paintings they left behind are uniquely beautiful. Karl Jaspers called the works of such people "pearls from a sick oyster." He also said, "It is not that schizophrenia is creative in itself, because creative schizophrenic patients are very rare." He further states, "Without such artistic ability, nothing can be created through schizophrenia. Schizophrenia is not something that is supposed to bring about something absolutely new; rather, it responds, so to speak, to the power at hand. Something that would not have been possible without the mental illness is brought into existence through schizophrenia, from a fundamentally complete state (10)."
No matter how beautiful a pearl a sick oyster may produce, this does not mean that the illness can be overcome. Rather, step by step, life transcends the world, losing its complete and unified form, becoming desolate, and dying. In a single painting painted by a schizophrenic, the entire existence is contained, reminiscent of a broken string. I feel dizzy from the overwhelming energy that their paintings exude, but I also pay tribute to their humanity.
The Asahi Shimbun newspaper of January 21, 1994 reported that a group consisting of Masanari Itokawa and Michio Yuzuru from Tokyo Medical and Dental University, and Tadao Arihaba and Hideo Hamaguchi from Tsukuba University had discovered that some forms of schizophrenia are more likely to occur due to a single genetic mutation. This news is a great ray of hope in the search for ways to prevent the onset of the disease.
References
(1) Rudolf Lemke, Paintings of Madness, translated by Takehito Fukuya, Yuhikaku
(2) Roger Caillois, In the Midst of Fantasies, translated by Ikuo Miyoshi, Hosei University Press
(3) Tadao Miyamoto, Hallucinations and Creativity, in Fundamentals and Clinical Practices of Hallucinations, edited by Takahashi, Miyamoto, and Miyasaka, Igaku-Shoin
(4) Karl Jaspers, Strindberg and Van Gogh, translated by Akaji Fujita, Riso-sha
(5) Dali, The Day of Genius
(6) Gustav René Hocke, The World as Labyrinth, translated by Tanemura and Yakawa, Bijutsu Shuppansha
(7) M. McMann and C.S. Eliel (eds.), Parallel Visions, supervised by Setagaya Art Museum, Tankosha
(8) W. Cypher, Literature and Technology, translated by Nojima Hidekatsu, Kenkyusha
(9) R. Cardinal, Surrealism and its Framework for the Creative Subject, Translated by Hayashi Chine, included in the same book as (8)
(10) Same book as (4)
References
(1) Jun Ehara, "Hieronymus Bosch and Music," Mizue No. 926, Bijutsu Shuppansha
(2) John R. Wilson, "The Story of the Heart," translated by Miyagi Otoya, Time-Life International
(3) Kiyoshi Ikeuchi, "The Great Space Traveler with 222 Brides," Geijutsu Shincho, December 1993, Shinchosha
(4) Darold A. Treffert, "Why Do They Show Genius Abilities?", translated by Takahashi Kenji, Soshisha
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Note: Please note that the term "schizophrenia" has now been replaced by the term "integrated mental disorder" in Japan.
©Tadami Yamada
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