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侍と私 ポートレイトが語る初期写真 the Samurai & I Early Portrait Photographs

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侍と私 ポートレイトが語る初期写真 the Samurai & I Early Portrait Photographs 侍と私 ポートレイトが語る初期写真 The Samurai & I Early Portrait Photographs 作品リスト List of Works 凡例 各作品のデータは、次の順に表示した。 作品番号、作品名（和・英）、撮影者名（和・英）、撮影年（c. は推定を指す） 、技法（和・英）、サイズ（単位は mm） 。 *1 Copyright by CIRMA (Centro de Investigaciones Regionales de Mesoamerica) *2 特別出品 東京富士美術館蔵 *3 特別出品 東京富士美術館蔵 展示期間 5 月 15 日（土）～6 月 20 日（日） *4 特別出品 東京富士美術館蔵 展示期間 6 月 22 日（火）～7 月 15 日（日） *5 特別出品 横浜市民ギャラリーあざみ野蔵 (Except No.5). A photograph can only capture the present and this プロローグ／ Prologue ‘present’ always belongs to the past. Even after the subjects have left this world, their photographs remain as objects that transmit the カメラが通信デバイスの一機能として定着した現在も、レンズは人をとらえ続けてい ‘now’ that existed when they were produced. ます。人を想い、人を慈しみ、人と関わる時間を大切にし、かたちに留めたいと願う。 このような心の動きは、写真が発明される以前から変わりません。しかし、被写体で 1 202 × 260 ある「人」はどうでしょうか。フランスの思想家であるロラン・バルトは被写体とし 外国写真鏡之図 鶏卵紙に手彩色 Gaikoku shashinkyo no zu Hand-colored Albumen Print ての自分について述べています。 (Picture of Foreigner's Studio〔Foreign Studio(?)〕) 4*1 ｢肖像写真｣ は、もろもろの力の対決の場である。 歌川芳員 屋須弘平のスタジオ UTAGAWA Yoshikazu YASU Kohe-e's Studio そこでは、四つの想像物が、互いに入り乱れ、 1860 屋須弘平 衝突し、変形し合う。カメラを向けられると、 332 × 220 YASU Kohe-e 私は同時に四人の人間になる。 多色刷木版 c.1895 Color Woodblock Print 256 × 202 すなわち、私がそうであると思っている人間、 ゼラチン・シルバー・プリント 私が人からそうであると思われたい人間、 2 後年のプリント 写真家が私はそうであると思っている人間、 江崎写真館 Gelatin Silver Print (printed later) 写真家がその技量を示すために利用する人間、である。 Esaki Photograph Studio 江崎礼二 5 言いかえれば、これは奇妙な行動であるが、 ESAKI Reiji 田辺聖子 佐藤愛子 / 私は自分自身を模倣してやまないのである。 c.1873 写真館スタジオ（神戸） 213 × 275 TANABE Seiko, SATO Aiko / 鶏卵紙 Photograph Studio (Kobe) 『明るい部屋 写真についての覚書』 Albumen Print 野上 透 ロラン・バルト著 花輪光訳 NOGAMI Toru みすず書房 1985 3 1977 江崎写真館 315 × 210 Esaki Photograph Studio ゼラチン・シルバー・プリント 幕末の動乱期、魂をとられると聞きながらも、姿を写した侍たち。遠い憧れでしか 江崎礼二 Gelatin Silver Print なかった肖像を写真の発明によって手に入れた私 ( ブルジョアジー ) たち。19 世紀 ESAKI Reiji においても、人々はなにがしかの奇妙さを感じながら、レンズの前に立ったのです。 c.1873 本会場にある肖像 ( ポートレイト ) の被写体は、どんなに凛々しくとも美しくとも、 作品番号 5 を除くすべてが亡くなった人です。写真はいまここにあるものを写しま す。そして、「いま」は必ず過去になります。その人がこの世を去った後でも、写真 はモノとして撮影時の「いま」を伝え続けるのです。 第 1 章 日本／Section One: Japan Even today, when the camera has become established as a 島津藩（現・鹿児島県）を筆頭とする大名は洋学研究の一環として、ペリーが来航 communications device, the lens continues to capture people. する以前から写真を研究していました。日本人によって撮影された現存する最古の People prize moments of tenderness or affection within their 写真は、1857（安政 4）年の《島津斉彬像》です。しかし、本格的に渡来するのは interpersonal relations and wish to preserve them. This emotion 1859（安政 6）年に日本が開国し、外国人が日本に居住するようになってからです。 has remained unchanged since before the invention of photography, 翌年には日本人が写真師として営業を始め、肖像 ( ポートレイト ) からその仕事が but what about the people who become the subjects of these はじまりました。下岡蓮杖の《木村政信像》1862（文久 2）年は、このような最初 photographs. 期の作例であり、同年は上野彦馬が『舎密局必携』を著すと共に長崎で写場を開業 The French philosopher, Roland Barthes, spoke of himself as a した年でもあります。 photographic subject: 明治政府樹立へ向かう動乱期、明日をも知れない我が姿を残そうと多くの侍たちは ‘The portrait-photograph is a closed field of forces. Four image- 写場へ足を向けました。1872（明治 5）年からは、時の天皇であった明治天皇も写 repertoires intersect here, oppose and distort each other. In front of 真と関わりを持ちます。浅草の写真師であった内田九一によるこの像は、度重なる the lens, I am at the same time: the one I think I am, the one I want 規制にもかかわらず、他の写真師たちによって複写され、あるいはアルバムに収め others to think I am, the one the photographer thinks I am, and the られ、あるいは名刺判として制作されます。そして、貴族・元勲あるは歴史上の人 one he makes use of to exhibit his art. In other words, a strange 物を描いた肖像を撮影した写真と並んで販売されました。 action: I do not stop imitating myself.’ 日本の肖像 ( ポートレイト ) 写真は写真渡来と共に出発し、まず市井の侍へとひろ (‘Camera Lucida: Reflections on Photography’, Roland Barthes, がり、その波が天皇に及びました。つまり、私( プライベート ) から公 ( パブリック ) Translated by: Richard Howard, Hill & Wang, 1982) へと引き上げられるように広がっていったのです。 In the political upheaval that brought about the end of the feudal period in Japan in the mid-nineteenth century, countless samurai had Lord SHIMAZU, the daimyo of Satsuma Domain (present-day their portraits taken, despite the belief, prevalent at the time, that Kagoshima Pref.) was experimenting with photography as part of his the camera stole a person’s soul. The bourgeoisie, who could only Western science studies, even before the American Squadron, under dream of having portraits painted, were able to acquire them through command of Commodore Perry, came to demand the opening of the the invention of photography. During the nineteenth century, despite country in 1853. The oldest known existing photograph to have been feelings of self-consciousness, people all took their place in front of taken by a Japanese is‘A Portrait of SHIMAZU Nariakira’ that dates the camera lens. to 1857. However, photography did not become established in the The people who appear in the photographs in this exhibition, no country until 1859 when the opening of the country allowed numerous matter how dashing or beautiful they may seem, are now all dead foreigners to come and live in Japan. The following year saw several 写美_侍と私 目録 P.001-008 P.1 '10.04.29 初校出 8F東倉 写美_侍と私 目録 P.001-008 P.1 '10.05.10 四校出 8F東倉 写美_侍と私 目録 P.001-008 P.1 '10.05.10 五校出 8F東倉 写美_侍と私 目録 P.001-008 P.1 '10.05.17 六校出 8F東倉 Japanese photographers open for business to produce portraits. 19 Title Unknown (Portrait of Young Man Wearing Among them was SHIMOOKA Renjo who produced the‘Portrait of 佐々木秀造像 Hakama Trousers) Portrait of SASAKI Shuzo 撮影者不詳 KIMURA Masanobu’ in 1862, while in the same year, UENO Hikoma 撮影者不詳 Photographer Unknown published Seimikyoku hikkei (Chemical Laboratory Handbook) and Photographer Unknown c.1872-1882 opened his own photography studio in Nagasaki. 1866 93 × 65 102 × 74 アンブロタイプ During the period of turmoil prior to the Imperial Restoration, the アンブロタイプ Ambrotype samurai did not know what tomorrow held for them and many Ambrotype of them visited these photography studios to have their images 29 20 preserved for posterity. In 1872, the Emperor Meiji became the 題不詳（キセルを持つ青年像） 多田吉甄 像 Title Unknown subject of a photograph by UCHIDA Kuichi, who had a studio in Portrait of TADA Yoshiakira (Portrait of Young Man Holding Pipe) Asakusa. Although the private sale of this photograph was forbidden, 掘 与兵衛 撮影者不詳 it was copied by other photographers to appear in albums or be sold HORI Yohe-e Photographer Unknown c.1868 c.1872-1882 as carte-de-visite prints. It was also sold together with photographs 100 × 76 106 × 72 of portrait paintings of the nobility, elder statesmen and other famous アンブロタイプ アンブロタイプ historical figures. Ambrotype Ambrotype After the introduction of photography to the country, first ordinary 21 30 samurai then later the Emperor had their portraits taken. In other 題不詳（ピストルを持つ侍像） 題不詳（はっぴを着た男） words, Japanese photographic portraits began with private individuals Title Unknown Title Unknown then gradually spread to officialdom. (Portrait of Samurai with Pistol) (Portrait of Man Wearing Happi Jacket) 撮影者不詳 撮影者不詳 Photographer Unknown Photographer Unknown 6 UENO Hikoma c.1868 c.1872-1882 『遠西奇器述』 c.1865-1868 79 × 55 88 × 67 “Ensiekkijutsu” 83 × 56 アンブロタイプ アンブロタイプ (A Book on Western Scientific Devices) 鶏卵紙 Ambrotype Ambrotype 川本幸民口述 田中綱紀筆記 Albumen Print Dictated by KAWAMOTO Komin, Transcribed 22 31 by TANAKA Koki 13 渡辺嘉四郎肖像 題不詳（傘を持つ男） 1854 木村政信像 Portrait of WATANABE Kashiro Title Unknown 260 × 183 Portrait of KIMURA Masanobu 撮影者不詳 (Portrait of Man Holding an Umbrella) 版本 下岡蓮杖 Photographer Unknown 撮影者不詳 Woodblock-Print Book SHIMOOKA Renjo 1869 Photographer Unknown 1862 95 × 70 c.1877-1887 7 81 × 69 アンブロタイプ 111 × 80 島津斉彬像 〈レプリカ〉 アンブロタイプ Ambrotype アンブロタイプ Portrait of SHIMADZU Nariakira〈Replica〉 Ambrotype Ambrotype 宇宿彦右衛門ら 23 USHUKU Hikoemon etc. 14 村松遠江守武豊立像 32 1857 北島 俊 像 Standing Portrait of MURAMATSU Totomi- Mikado（明治天皇像） 111 × 73 Portrait of KITAJIMA Shun no-kami Taketoyo Mikado (Portrait of Emperor Meiji) ダゲレオタイプ 撮影者不詳 守田来藏 内田九一 Daguerreotype Photographer Unknown MORITA Raizo UCHIDA Kuichi c.1859-1868 1866 1873 8 118 × 100 102 × 76 245 × 195 『ペリー日本遠征記』 アンブロタイプ アンブロタイプ 鶏卵紙に手彩色 “Narrative of the Expedition of an American Ambrotype Ambrotype Hand-colored Albumen Print Squadron to the China Seas and Japan” フランシス・ホークス 15 24 33 HAWKS, Francis 小島柳蛙像 村松遠江守武豊座像 Mikadess（美子皇后像） 1856 Portrait of KOJIMA Ryua Sitting Portrait of MURAMATSU Mikadess (Portrait of Empress Haruko) 300 × 240 小島柳蛙 Totomi-no-kami Taketoyo 内田九一 活版印刷／リトグラフ KOJIMA Ryua 守田来藏 UCHIDA Kuichi Typography/Lithograph c.1865-1868 MORITA Raizo 1872 106 × 79 1866 245 × 195 9 アンブロタイプ 100 × 79 鶏卵紙に手彩色 題不詳（佐久間象山像） Ambrotype アンブロタイプ Hand-colored Albumen Print Title Unknown Ambrotype (Portrait of SAKUMA Shozan) 16 34 佐久間象山 題不詳（ほおづえをつく侍） 25 題不詳（明治天皇像） SAKUMA Shozan Title Unknown 田崎道孝像 Title Unknown (Portrait of Emperor Meiji) c.1863 (Portrait of Samurai Resting Chin on Hand) Portrait of TAZAKI Michitaka 内田九一 78 × 52 撮影者不詳 上野彦馬 UCHIDA Kuichi 鶏卵紙 Photographer Unknown UENO Hikoma 1872 Albumen Print c.1865-1868 c.1871 105 × 63 82 × 58 108 × 78 鶏卵紙 10 アンブロタイプ アンブロタイプ Albumen Print 『舎密局必携』 Ambrotype Ambrotype “Seimikyoku-hikkei” 35 (Chemical Laboratory Handbook) 17 26 題不詳（美子皇后像） 上野彦馬抄訳 堀江鍬次郎閲 題不詳（垣根の前の男） 田崎道孝像 Title Unknown UENO Hikoma, Abridged Translation / Title Unknown Portrait of TAZAKI Michitaka (Portrait of Empress Haruko) HORIE Kuwajiro, Proofreading (Portrait of Man in Front of Hedge) 上野彦馬 内田九一 1862 撮影者不詳 UENO Hikoma UCHIDA Kuichi 222 × 154 Photographer Unknown c.1871 1872 版本 c.1865-1868 104 × 79 105 × 63 Woodblock-Print Book 81 × 52 アンブロタイプ 鶏卵紙 アンブロタイプ Ambrotype Albumen Print 11 Ambrotype 題不詳（武士像） 27 36 Title Unknown (Portrait of Samurai) 18 石川良助像 正一位太政大臣照徳院源家茂公 上野彦馬 『写真鏡図説』初編 / 第二編 Portrait of ISHIKAWA Ryosuke Shoichi-I Dajodaijin Shotoku-in Minamoto- UENO Hikoma “Shashin-kyo zusetsu” 中村写真所 no-Iemochi-ko c.1865-1868 (Introduction to Photography, Vol. II) NAKAMURA Studio (Portrait of TOKUGAWA Iemochi) 83 × 56 柳河春三 c.1868-1877
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