{"id":40368,"date":"2023-04-09T06:05:36","date_gmt":"2023-04-08T21:05:36","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=40368"},"modified":"2023-04-10T11:37:45","modified_gmt":"2023-04-10T02:37:45","slug":"%e3%80%90%e5%a0%b1%e9%81%93%e3%81%a8%e8%8a%b8%e8%a1%93-%e3%80%8c%e5%b1%8f%e9%a2%a8%e7%b5%b5%e3%80%8d%e3%81%ae%e9%ad%85%e5%8a%9b-%e9%8e%8c%e5%80%89%e3%81%ae%e6%ad%b4%e5%8f%b2-5%e3%80%91","status":"publish","type":"post","link":"https:\/\/kochihen.replan.ne.jp\/?p=40368","title":{"rendered":"\u3010\u5831\u9053\u3068\u82b8\u8853 \u300c\u5c4f\u98a8\u7d75\u300d\u306e\u9b45\u529b \u938c\u5009\u306e\u6b74\u53f2-5\u3011"},"content":{"rendered":"

\"\"<\/a>
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English version\u2b07<\/p>\n

Press and Art: The Fascination of “Folding Screen Painting” History of Kamakura-5
\nIn the age without photography, images were produced in the interval between the press and art. As a person who has continued the media, I am strongly attracted to the motive of the production process. …<\/p>\n

Continuing from yesterday’s article, I would like to discuss the unique “media” byobu-e expression in Japanese society. I have spent my entire life with a strong interest in the media industry. I have always been convinced that photography is the tool that best embodies “realism” in contemporary society and technology.
\nI believe that residential photography is the most truthful media element for capturing the lives of real people of that era as they experienced it themselves. I believe that the fact that humankind has acquired the means to convey reality in its entirety through photography has dramatically increased our ability to share culture. Based on this “factual reportage,” the viewpoint from which to consider the theme of “how to live and how to live” is firmly established.
\nSociety before this photograph. I believe that there were various forms of image expression that conveyed the society that our predecessors had created. Because they were images, there was a strong sense of “creativity” in them. However, I often think about the mental images of the creators of these images.
\nThe above images are clearly “reporting” on a cross-section of epoch-making events in history. As future generations, we can imagine the various ways in which they were expressed. How did the parties involved respond to the specific incident, how did the kanjin-gen commission the artists to convey the facts, and what did the artists pay most attention to in their interrelationship with the kanjin-gen in creating their works?
\nThese are the main “explorations” that I spend time discussing with the specific image works.
\nI am strongly attracted to this whole process of dialogue. In particular, you seem to have the greatest interest in the in-between of journalistic and artistic aspects.
\nIn the end, I am fascinated by the depth of these time-honored, representative objects that have survived to the present day. Many of them are concentrated in museums, art galleries, and history halls today. These places convey the identity of the region in a way that is easy to understand. It is natural, but I think they give us an opportunity to share the past and the present as human beings beyond time.
\nThe paintings are also very useful for us to understand how the incident was reported to the production promoters of the time. Was this angle chosen as the most obvious angle for a news painting?
\nThese questions may be the psychological motive for the inquiry, a fixed point of observation in Kamakura, where the power of the warrior class emerged.<\/p>\n","protected":false},"excerpt":{"rendered":"

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