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| Fracturing Realities: Staging Buddhist Art in Domon Ken’s Photobook Murōji (1954)=砕け散る現実：土門拳の写真集『室生寺』（1954）で上演された仏教美術 | ||
| 作者 | Chan, Chun-Wa (著) |
|---|---|
| 出處題名 | Japan Review: Journal of the International Research Center for Japanese Studies=日本研究=Nichibunken Japan Review=Bulletin of the International Research Center for Japanese Studies |
| 卷期 | v.34 |
| 出版日期 | 2019.12 |
| 頁次 | 191 - 207 |
| 出版者 | International Research Center for Japanese Studies=国際日本文化研究センター |
| 出版者網址 | http://www.nichibun.ac.jp/pc1/en/ |
| 出版地 | 京都, 日本 [Kyoto, Japan] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English |
| 關鍵詞 | 土門拳=Domon Ken; 写真集=Photobook; ドキュメンタリー=Documentary; リアリズム=Realism; 戦後の写真=Postwar Photography; アヴァンギャルド=Avant-garde; 新即物主義=New Objectivity; 仏教=Buddhism; 文化遺産=Cultural Heritage; 巡礼=Pilgrimage |
| 摘要 | Against the backdrop of the immediate postwar, photographer Domon Ken (1909–1990) embarked on a journey to the Murōji Temple in Nara Prefecture to capture its Buddhist treasures. The body of work was published in his photobook Murōji (1954), and has often been interpreted as a nostalgic spectacle that romanticizes Japan’s Buddhist heritage for mass consumption. Yet, a close examination of the images and their arrangement in the photobook reveals Domon’s indifference to reconstructing an accessible past. Contrary to the resurgence of Zen Buddhism in the 1950s, Domon’s project absconded from any politicized attempt that sought to authenticate the “tradition” or spiritual “essence” of Japan. While beholders are granted with unprecedented proximity to the icons, Domon’s interest in tactility and his manipulation of scale paradoxically render these statues illegible and unfamiliar. Equally significant is his juxtaposition of legible and abstract close-ups, which shatters the past into incongruent fragments. The photobook Murōji thereby raises questions that continue to resonate today: what is the role of documentary photography in postwar Japanese culture? In what ways can photography function as a metaphorical ground upon which competing ideas of nation, cultural memory, and subjectivity are mediated? |
| 目次 | Introduction 191 1) The Crisis of Documentary 192 2) The Photobook as Experimental Site 199 3) An Alternative Realism 200 Conclusion 204 |
| ISSN | 09150986 (P); 24343129 (E) |
| DOI | 10.15055/00007413 |
| 點閱次數 | 101 |
| 建檔日期 | 2021.02.03 |
| 更新日期 | 2021.02.03 |
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