Francesco Paolo Campione Yokohama-Skolen. Fotografiet I

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Francesco Paolo Campione Yokohama-Skolen. Fotografiet I Francesco Paolo Campione Francesco Paolo Campione Yokohama-skolen. Fotografiet i Japan fra 1860 til 1910: Rejsekunst mellem dokumentation og tradition En anonym maler, der var ansat i Kusakabe Kimbeis atelier, benyttede en pensel med kun et hår til at male detaljerne på hver af de to hundrede munkes øjne og læber, som var på fotografiet Yokohama-skolen. Fotografiet i Japan fra 1860 til 1910 Yokohama-skolen. Billedkunstskolernes forlag ISBN 978-87-7945-092-9 Figura Yokohama-skolen Fotografiet i Japan fra1860 til 1910: Rejsekunst mellem dokumentation og tradition Også i Figura-serien fra Billedkunstskolernes forlag: Gilles Deleuze, Francis Bacon – Sansningens logik Georges Bataille, Manet – Et biografisk og kritisk studie Figura-serien redigeres af Carsten Juhl Francesco Paolo Campione Yokohama-skolen Fotografiet i Japan 1860-1910: Rejsekunst mellem dokumentation og tradition Periodisering af japansk historie Oversættelse og tekstredaktion ved Carsten Juhl Epoker: Jōmon (indtil 200 f.v.t.) Yayoi (200 f.v.t. – 250 e.v.t.) Kofun (250 – 552) Asuka (552 – 646) Hakuhō (646 – 710) Nara (710 – 794) Heian (794 – 1185) Kamakura (1185 – 1333) Nanbokuchō (1336 – 1392) Muromachi (1392 – 1568) Azuchi Momoyama (1568 – 1600) Tokugawa eller Edo (1600 – 1853/1868) Overgangen til moderniteten: Bakumatsu, der betyder “tæppefald” nemlig for shogunatet (= Bakufu) og landets isolationistiske politik (1853 – 1867) Meiji-epoken (1868 – 1912), også kaldet Meiji Restaurationen på grund af kejserens indsættelse i en halvguddommelig position Billedkunstkolernes forlag Moderne perioder: Det kgl. danske Kunstakademi Taishō (1912 – 1926) København Shōwa (1926 – 1988) Heisei (1988 –) 2016 Francesco Paolo Campione Indholdsfortegnelse La Scuola di Yokohama La fotografia nel Giappone dell’Ottocento Giunti – Esovisioni 10, Firenze og Milano, 2015 © 2015 Giunti Arte Mostre Musei S.r.l. Francesco Paolo Campione 6 Oversætterens forord 85 Kapitel 5. Temaerne Yokohama-skolen 85 1. “beato-formlen” Fotografiet i Japan1860 -1910: Rejsekunst mellem dokumentation og tradition 11 Indledning 88 2. udvælgelseskriterierne for Billedkunstkolernes forlag souvenir-albummerne Figura-serien 13 Kapitel 1. Fotografiet i Japan i det19 . århundrede 89 3. den beherskede natur Første udgave 2016 © Den danske udgave: Billedkunstskolernes forlag og Carsten Juhl 13 1. forskningen 91 4. ogawas blomster og kollotypiet 15 2. periodiseringen 92 5. fotolitografiet og andre teknikker til Oversættelse og tekstredaktion: Carsten Juhl 20 3. samtidige genrer udbredelse af yokohama-skolens fotografier Billedredaktion: Francesco Paolo Campione, Carsten Juhl og Moira Luraschi 96 6. lysbilleder til tryllelygter (laterna magica) 27 Kapitel 2. Teknikkerne 98 7. den mimetiske interaktion og det Layout og omslag: Rasmus Eckardt 27 1. albuminpapir “evigt eksotiske” Tryk: Specialtrykkeriet Viborg A/S 28 2. albuminisering, fiksering og montage 101 8. helligt og profant ISBN 978-87-7945-092-9 30 3. koloreringen 107 9. det “overeksotiskes” helte Printed in Denmark 2016 37 4. fotokameraerne 111 10. det iscenesatte fotografi og 38 5. stereoskopiet udendørsateliererne Udgivet med gavmild og tålmodig støtte fra TOYOTA-FONDEN 40 6. pladerne 114 11. billedet af kvinden 44 7. formaterne Billedet på omslagets forside: Kosakabe Kimbei, [Monkey Carved Stable Nikko], 46 8. souvenir-albummer 122 Kapitel 6. Atelierer og mestre ca. 1890, 20,4 × 26,5 cm, neg. 1566. Inv. 43-35 (udsnit). — De tre aber er japanske 49 9. visitkortene 122 1. ateliererne makaker af arten med rødt ansigt (macaca fuscata). De bor i bjergene, men er 127 2. de europæiske fotografers virksomhed også gode svømmere, og de beskyttede sig mod de japanske vintres hårdhed ved 52 Kapitel 3. Kunstfærdighed og kunst (1850-1890) ind imellem at opholde sig i vandet fra varmekilderne. Hannerne er meget større end hunnerne, somme tider tre gange så store; til gengæld er der tre gange så 52 1. en sammensat fortolkning 129 3. beato, stillfried og farsari mange hunner. De tre afbildede aber er anbragt inden for en træramme på muren 53 2. begyndelsen 139 4. de vigtigste japanske mestre til de hellige hestes stalde i Tōshō-gū templet. De udgjorde symbolske vagter ved 57 3. forandringer og nostalgi 145 5. kimbei, tamamura og ogawa mausoleet for den første shogun Tokugawa Ieyasu i Nikkō. På japansk hedder 60 4. æstetiske strategier og marked de Sanzaru eller Sanbiki no saru. Den første abe hedder Mizaru (bogstaveligt: 63 5. rejser og landskaber 155 Bibliografi “ikke se det onde”), den anden Kikazaru (bogstaveligt: “lyt ikke til det onde”) og 65 6. “berømte steder” og rejseførerne den tredje Iwazaru (bogstaveligt: “tal ikke om det onde”). Somme tider er der også en fjerde abe, Shizaru (bogstaveligt: “gør ikke det onde”), og den fremstilles 169 Farvebilleder sædvanligvis med hænderne over skødet. Abernes ikonografi går tilbage til den ældste 70 Kapitel 4. Traditionens fortsættelse japanske ideologis tilblivelse: fra kinesisk Konfucianisme over Tendai Buddhisme til 70 1. en stærk arv statsreligionen Shintō. De tre aber anses også for opvartere til Saruta Hito no Mikoto 71 2. en interesse i realisme o Koshin, vejenes guddom, der dyrkes i årets tresindstyvende dag i overensstemmelse 72 3. emnerne med en række komplicerede forskrifter, der lader sig sammenfatte nogenlunde som 76 4. stilen følger: Det som aberne foreslår os at gøre, og som vi ikke formår at gøre, vedrører livets etiske tyngde, som man i ny og næ bør se bort fra. 80 5. det ideografiske synspunkt oversætterens forord 7 vandskamera, når han dykkede sammen med amaerne. - I forbindelse centreret omkring tegninger og tryk, så dokumenterede den de fort- med den moralske oprustning efter Fukushima-katastrofen i marts 2011 ællinger, der cirkulerede før Meiji Restaurationen. Og den bekræftede udsendte japansk fjernsyn serien Amachan og havde stor succes med den antagelse, Campione skitserer i begyndelsen: Der var en opløsning historien om en ung kvinde, der vender tilbage til sine Ama-rødder i en i gang i den isolationskultur, shogunatet havde tilvejebragt. I sin mono- region, der er blevet ødelagt af jordskælv og stormflod. grafiModerne sans être occidental [Moderne uden at være vestlig], der Oversætterens forord har undertitlen Aux origines du Japon d’aujourd’hui (Paris: Gallimard, Udstillinger er et bærende element, når et emne som japansk kunst 2016) forklarer Japan-historikeren Pierre-François Souyri, at der frem undersøges. Jeg skal kort resumere yderligere tre, der har været vigtige til 1830 var en kritisk offentlighed under udvikling i Japan. Overgangen for denne bogs tilblivelse: 1866-1873 fra shogunatet til restaurationen af kejserpositionen var på mange måder en åben proces, mens tiden herefter frembragte en “Everyday – Samtidskunst fra Japan, Kina, Korea, Thailand”, Kunst- magtkonstellation med mere autoritære tilbøjeligheder, bl.a. fordi den foreningen Gl. Strand, 9-8 til 28-9, 2003. Udstillingen var kurateret af politiske del af Meiji-epokens modernisering havde den bismarckianske I Udstillinger og seminarer — Denne bog har mange opga- tografiske ærinde ved Moira Luraschi, japansk rejsekunsts hovedproblemer Sibbe Agergaard og Torben Christensen,iii der bl.a. stillede spørgsmålet stat som forbillede. Souyris bog er faktisk en 490 siders åndshistorie ver, ikke mindst på dansk, hvor det ikke vrimler med bøger om det ved Allen Hockley og endelig den japanske anvendelse af fotografering i om eksistensen af en “asiatisk identitet”. Det var ganske dristigt gjort, med hovedvægten lagt på de løbende japanske diskussioner i Mei- eksemplariske ved japansk kunst: Den skal anslå temaer fra japansk 1800-tallets anden halvdel ved Morihiro Satow. Andendagen kunne nogle eftersom modersmålene i de involverede lande tilhører tre forskellige ji-epokens spidsperiode, diskussioner om ret, frihed og feminisme… kunsthistorie, sociologiens teori om kunstværkstedet som kollektiv af emnerne uddybes, således i tre nye foredrag ved Hockley, Luraschi og sprogfamilier – sino-tibetansk, altaisk og tai-kadai – samt kun er for- producent, fotografiets forhold til billedkunst, forskellen mellem de tre Satow, mens Miwako Tezuka trak paralleller fra træsnittene – eksempelvis bundne af buddhismens ekspansionsbevægelse, dvs. af en i dag delvis moderniteter (amerikansk, europæisk og japansk) samt imperialismens Hokusais – til nutidig japansk kunst. omlagt religion. Udstillingen udløste imidlertid en meget interessant II Arcana — Omkring spørgsmålet om det japanske som et ganske historie i mere almen-historisk forstand, eftersom Yokohama-skolens Parallelt med det japanske emnes mere akutte udstillings- anmeldelse i Weekendavisen 15-8-2003, hvor Gunhild Borggren over en specielt emne for tænkning og analyse står der en hel filosofihistorie fotoværksteder udviklede sig og kulminerede i Meiji-epoken 1868-1912, muligheder havde Museo delle Culture og Billedkunstskolernes afd. hel side betitlet “Japansk perspektiv” rejste spørgsmålet om det hånd- til vor rådighed. Den går fra Mellemkrigstidens tre tyske filosoffer, der der er nogenlunde sammenfaldende med den europæisk-nordame- for Teori og Formidling arbejdet for at udvide det globalæstetiske em- kolorerede træsnits betydning for samtidens kunst. Og kunstteoretisk dengang underviste i Japan, til en meget stor og forskelligartet vifte rikanske imperialismes historie. Der er dog også andre emner, der nekompleks, der havde karakteriseret den kunstteoretiske forskning i set giver påvirkningernes historie rige muligheder for tematiske og af mere specialiserede Japan-forskere i Efterkrigstiden, hvor jeg
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