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{{nihongo|'''Ken Domon'''|土門 拳|Domon Ken|25 October 1909 – 15 September 1990}} is one of the most renowned [[Japan]]ese [[photographer]]s of the 20th century.<ref>{{in lang|ja}}''Nihon shashinka jiten'' (日本写真家事典) / ''328 Outstanding Japanese Photographers.'' Kyoto: Tankōsha, 2000. {{ISBN|4-473-01750-8}}</ref> He is most celebrated as a photojournalist, though he may have been most prolific as a photographer of Buddhist temples and statuary.
{{nihongo|'''Ken Domon'''|土門 拳|Domon Ken|25 October 1909 – 15 September 1990}} was a celebrated Japanese photographer known for his work as a photojournalist and as a photographer of Buddhist temples and statuary.

Domon, who began his career in the 1930s contributing photo reportages to magazines that supported the increasingly militaristic Japanese state and its imperial policies, later criticized [[propaganda]] photography. His subsequent termination from the government agency he worked for spurred his career as a freelance photographer.

As photojournalists grappled with how to depict the new social reality of the post-WWII period, Domon forged the realistic photography movement (''Riarizumu Shashin Undō''). He embraced the idea of snapshot photography (''sunappu''), in which images could be captured with "absolute unstagedness".<ref>Ken Domon, "Riarizumu shashin to saron pikuchā" (Photographic Realism and the Salon Picture), ''Camera,'' October 1953, translated by Ivan Vartanian in Ivan Vartanian, Akihiro Hatanaka, and Yutaka Kanabayashi (ed.), ''Setting Sun: Writings by Japanese Photographers,'' New York, Aperture, 2005, p.22-27., p. 22.</ref> Domon documented the aftermath of the war, focusing on society and the lives of ordinary people. He received national acclaim for his portraits of children in exploitative labor conditions and Hiroshima bomb survivors (''[[hibakusha]]'').

Domon was forced to abandon ''sunappu'' photography after he suffered a debilitating stroke in 1958. His major project until the end of his career was photographing temples across Japan, a much-beloved subject that he had first begun to document in 1940. These images constituted the monumental series ''Pilgrimage to Ancient Temples'' (''Kojijunrei)'', published in five volumes from 1963 to 1975.


==Biography==
==Biography==
Domon was born in [[Sakata City|Sakata]], [[Yamagata Prefecture]],<ref name="Watanabe, p.23">{{cite book |last=Watanabe|first=Yoshio|author-link=Yoshio Watanabe |author2=Domon, Ken |author3=Ishimoto, Yasuhiro |author3-link=Yasuhiro Ishimoto |title=The Beauty of Japan Photographed|pages=23|year=1998|publisher=The Japan Foundation|location=Tokyo}}</ref> and, as a young man, was deeply influenced by the philosophical writings of [[Tetsuro Watsuji]].<ref name="Watanabe, p.4">Watanabe (1998), p. 4.</ref> He studied law at [[Nihon University]], but was expelled from the school due to his participation in radical politics.<ref name="Szarkowski">{{cite book |editor=Szarkowski, John |editor2=Yamagishi, Shoji|title=New Japanese Photography|url=https://archive.org/details/newjapanesephoto0000szar |url-access=registration |pages=[https://archive.org/details/newjapanesephoto0000szar/page/106 106]|year=1974|publisher=[[Museum of Modern Art]]|location=New York|isbn=0-87070-502-4}}</ref> He moved from painting to portrait photography, and obtained a position with Kotaro Miyauchi Photo Studio in 1933.<ref name="Szarkowski"/> In 1935 he joined [[Nippon Kōbō]] to work on its magazine ''[[Nippon (magazine)|Nippon]].'' Four years later he moved to [[Kokusai Bunka Shinkōkai]], a national propaganda organization;<ref name="Watanabe, p.23"/> like [[Ihei Kimura]] and many other notable Japanese photographers, he helped the war effort. Both contributed to a propaganda magazine, ''[[Shashin Shūhō]]'', during the war.<ref>{{cite journal
|author=Gennifer Weisenfeld|title=Touring Japan-as-Museum: NIPPON and Other Japanese Imperialist Travelogues|journal=positions. asia critique
|date=December 2000|volume=8|issue=3|page=756|doi=10.1215/10679847-8-3-747|hdl=10161/7356|hdl-access=free}}</ref>


=== Early life and career beginnings ===
With the end of the war, Domon became independent and documented the aftermath of the war, focusing on society and the lives of ordinary people.<ref name="Watanabe, p.4"/> He became known as a proponent of realism in photography, which he described as, "an absolute snapshot that is absolutely not dramatic."<ref name="Watanabe, p.23"/> He was a prolific contributor to photographic magazines, revived or started afresh through the early 1950s. With Kimura, [[Hiroshi Hamaya]] and others, he rejected posed and other artful photographs; in his polemics in the photographic magazines, Domon was the most forceful exponent of this view. He famously defined his goal as "the direct connection between camera and motif."<ref name="Watanabe, p.23"/>
Domon was born to a working-class family in [[Sakata City|Sakata]], [[Yamagata Prefecture]].<ref name="Watanabe, p.23">Yoshio Watanabe, Ken Domon and Yasuhiro Ishimoto, ''The Beauty of Japan Photographed,'' Tokyo, The Japan Foundation, 1998.</ref>{{Rp|page=23}} After his father lost his job, Domon had to abandon his studies and begin working in a furniture shop.<ref name=":0">Rossella Menegazzo, "The Realist Approach to a Changing Japan: From Art Photography to Social Documentation", ''Domon Ken. The Master of Japanese Realism,'' exh. cat., Rome, Museum of the Ara Pacis, Skira, 2016, p. 27-31.</ref>{{Rp|page=28}} As a young man, Domon was passionate about painting, and exhibited an oil painting at the Yokohama annual art exhibition in 1926.<ref name=":0" />{{Rp|page=28}} However, fearing career instability, he decided not to pursue his interest professionally. Domon was eventually able to finish his studies in 1928 despite his family's financial difficulties.<ref name=":0" />{{Rp|page=28}}

In 1929, Domon began taking courses in law at [[Nihon University]].<ref name=":1">''Domon Ken. The Master of Japanese Realism,'' exh. cat., Rome, Museum of the Ara Pacis, Skira, 2016.</ref>{{Rp|page=182}} He continued to paint in his free time and took ''[[shamisen]]'' lessons.<ref name=":1" />{{Rp|page=182}} In 1932, Domon was expelled from Nihon University for his involvement as a secretary at the Agricultural Workers' League (Nōmin kumiai), associated with the [[Japanese Communist Party]].<ref>John Szarkowski and Shoji Yamagishi (ed.), ''New Japanese Photography,'' exh. cat., New York, Museum of Modern Art, 1974, p. 106.</ref> He was arrested by the police and only released upon promising to break all ties with communism.<ref name=":2">Yoshiaki Kai, "''Sunappu:'' A Genre of Japanese Photography, 1930-1980", PhD dissertation, The City University of New York, 2012.</ref>{{Rp|page=109}}

Domon's mother advised him to join the photo studio of Miyauchi Kōtarō as an apprentice in 1933.<ref name=":1" />{{Rp|page=182}} His entry into the photographic scene coincided with the flourishing of the medium in Japan in the late 1920s and early 1930s: photographic journals like ''Photo Times'' and ''Kōga'' allowed the Japanese public to view images produced by European avant-garde photographers. The exhibition ''Film und Foto'', first held in 1929 in [[Stuttgart]], subsequently traveling to Tokyo and Osaka in 1931, was equally instrumental in energizing Japanese photographers.<ref name=":0" />{{Rp|page=28}} Additionally, the newly-available Leica, a small and affordable camera, allowed amateurs to begin taking photographs, which encouraged the development of new photography groups.<ref name=":0" />{{Rp|page=28}} Domon familiarized himself rapidly with the medium thanks to his voracious consumption of lectures from hundreds of photography books and magazines.<ref name=":1" />{{Rp|page=182}}

=== Early career, 1933-1939 ===
From the outset of his career, Domon expressed an interest in photography with social and cultural themes.<ref name=":0" />{{Rp|page=28}} After publishing his first photo in the magazine ''Asahi Camera'' in 1935, he left his apprenticeship at Kōtarō's photo studio prematurely to work for Nippon Kōbō, an agency founded by photographer [[Yōnosuke Natori]].<ref name=":3">Mari Shirayama, "The Three Rivals of Japanese Photojournalism", in ''Domon Ken. The Master of Japanese Realism,'' exh. cat., Rome, Museum of the Ara Pacis, Skira, 2016, p. 23-25.</ref>{{Rp|page=23}} From 1934 until the end of the Asia Pacific War, the agency published ''NIPPON'', a photo magazine targeted at foreigners to promote Japanese culture abroad.<ref name=":4">Gennifer Weisenfeld, "Touring Japan-as-Museum: ''NIPPON'' and Other Japanese Imperialist Travelogues", ''Positions: East Asia Cultures Critique,'' vol. 8, no. 3, 2000, p. 747-793.</ref>{{Rp|page=751}} Art historian [[Gennifer Weisenfeld]] notes that as such "it served as a quasi-governmental organ of national propaganda", receiving support from several state agencies.<ref name=":4" />{{Rp|page=753}}

Domon has stated that he lacked confidence and technical skill working on his first assignments, but he soon developed his craft and with it his self-assurance.<ref name=":3" />{{Rp|page=23}} Tension between the young photographer and his superior Natori soon set in. The work of the Nippon Kōbō photographers was considered a "company product" and thus was credited only to Natori, to Domon's chagrin.<ref name=":3" />{{Rp|page=23}}

His first reportage for ''NIPPON'', published in 1936 and taken with his Leica, covered the [[Shichi-Go-San|Shichi-go-san]] festival at the [[Meiji Jingu]] shrine in Tokyo.<ref name=":0" />{{Rp|page=28}} He then completed several shoots highlighting Japanese artisans and traditions.<ref name=":1" />{{Rp|page=33}} These early black and white photographs are often artfully composed, with dynamic lines and forms.  

Photojournalism began to transform in the mid-1930s as Japan became increasingly nationalistic in the wake of the imperial expansion, eventually leading to the [[Second Sino-Japanese War|second Sino-Japanese war]] and the country's participation in [[World War II]]. Domon's pictures consequently became military-focused, depicting subjects such as Red Cross nurses and soldiers in training. His compositions rely on tightly organized groupings that convey collective order and strict discipline.

The tension between Natori and Domon continued to grow as Domon developed his ideas on photography and began publishing his photos in other magazines. Natori believed photography to be at the service of mass media, whereas Domon believed that the medium was a form of artistic expression.<ref name=":1" />{{Rp|page=33}} In 1939, Domon left Nippon Kōbō after being recruited to work for the Agency for International Cultural Relations (''Kokusai Bunka Shinkōkai,'' "KBS"), a national propaganda organization. Curator Mari Shirayama posits that Natori played a role in instigating his recruitment, understanding that he could no longer collaborate professionally with Domon.<ref name=":3" />{{Rp|page=24}} At the KBS, Domon notably contributed to a series of large photography panels that promoted Japan at the International Exhibition at the World's Fair in San Francisco.<ref name=":0" />{{Rp|page=29}} During this time, Domon also played a central role in the Japanese Society of Reportage Photographers (''Nippon Hōdō Shashin-ka Kyōkai).''<ref name=":2" />{{Rp|page=111}}

=== War years, 1939-1945 ===
The intensifying war effort brought about major changes for Japanese photographers. Following the end of free publication, many magazines were forced to cease their operations.<ref name=":0" />{{Rp|page=29}} Consequently, opportunities for commissions grew scarce. Now married to his wife Tami, whom he met in 1939, Domon struggled to financially support their growing family.<ref name=":0" />{{Rp|page=29}} He also lived in fear of being sent to the warfront as a photojournalist.<ref name=":0" />{{Rp|page=29}}

Withdrawing temporarily from the tense wartime climate, Domon visited the remote Buddhist temple [[Murō-ji]] in Nara Prefecture in 1939, accompanied by his friend and art historian Sumio Mizusawa.<ref name=":1" />{{Rp|page=143}} He returned forty times that same year and would return frequently over the course of the following decade, irrefutably drawn to "the apparent immutability of the majestic nature of this little temple".<ref name=":1" />{{Rp|page=143}} He began taking photos in 1940 of its architecture and wooden Buddha statues (''kōninbutsu''), using a wooden portrait camera made by Konishiroku (now [[Konica]]). He also gradually got to know the villagers and the war-related tragedies they lived through.<ref name=":5">Alice Y. Tseng, "Domon Ken's ''Murōji", Impressions,'' 2009, no. 30, p. 114-118.</ref>{{Rp|page=114}} Murō-ji would be the catalyst for Domon's life-long work, ''Pilgrimage to Ancient Temples'' (''Kojijunrei'').

Domon's other significant wartime endeavor was a series on ''[[bunraku]]'', a traditional form of Japanese puppet theater, which he began in 1941. Working with the puppeteers and the dark setting of the theater proved to be challenging. Nonetheless, Domon, with the help of assistants, worked tirelessly, using a heavy, primitive camera that was difficult to operate.<ref name=":1" />{{Rp|page=59}} The project was also threatened by a lack of sufficient materials due to wartime rationing.<ref name=":1" />{{Rp|page=59}} However, by 1943, they had produced 7,000 negatives.<ref name=":0" />{{Rp|page=29}} A selection of these images was published in the 1972 publication ''Bunraku.''

Domon remained visible in the public sphere during the war, lecturing and writing about photography.<ref name=":0" />{{Rp|page=29}}In 1943, he published an article in the magazine ''Nihon Hyōron'' in which he announced his opposition to the use of magazines for propaganda, leading to the banning of the issue and his termination from KBS.<ref name=":1" />{{Rp|page=182}} Domon thus began forging his career as an independent freelance photographer.<ref name=":1" />{{Rp|page=182}}

Domon was to be drafted at the end of the war in 1945, but failed the required medical examination.<ref name=":1" />{{Rp|page=182}}

=== Post-war and Realism, 1945-1960 ===
The period following the Japanese defeat was a time of great societal unrest. Like many other photographers, Domon struggled to support himself. He made ends meet by developing film and printing photographs for G.I.s.<ref name=":6">Edward Putzar, "The Reality of Domon Ken", ''Japan Quarterly,'' vol. 41, no. 3, July 1994, p 208-322.</ref>{{Rp|page=314}} As the publishing business gradually recovered, he was able to find jobs working for different photo magazines.

In 1950, Domon began work as a judge for the monthly photo contest organized by ''Camera'' magazine. He wrote short texts that accompanied the amateur photographs, and it was in these texts that the photographer began using "realism" (''Riarizumu)'' to describe the photographs he admired.<ref name=":2" />{{Rp|page=112}}

By employing the term "realism", Domon built upon the first major debate in the Japanese art world during the post-war period. From 1946 to 1950, intellectuals and artists across disciplines tackled in heated discussions the question of what constituted "realism". Art historian Yuri Mitsuda importantly notes that "the realism debate was so divisive because it was not simply a matter of different formalistic preferences. The true topic being discussed was the attitude with which artists should confront reality and explore that reality through art."<ref>Yuri Mitsuda, "The 'Realism Debate' [''Riarizumu Ronsō'']", in Noriaki Kitazawa, Takemi Kuresawa and Yuri Mitsuda (ed.), ''History of Japanese Art After 1945. Institutions, Discourse, Practice,'' Leuven, Leuven University Press, 2023, p. 63.</ref>

Domon associated realism with the photographic "snapshot" (''sunappu''). He first encountered this notion at a round-table discussion with the ethnographer [[Kunio Yanagita|Kunio Yanigita]] in 1943. Yanigita argued that staged images had no scholarly value and advocated for the "snapshot": an image where no direction is given by the photographer.<ref name=":6" />{{Rp|page=313}} While at first Domon did not agree, he soon adopted this point of view. He believed that such photographs were the means to an objective depiction of society.<ref name=":6" />{{Rp|page=313}}

The artist's frequent writings and contributions to the discussion around ''sunappu'' and realism were not always coherent, therefore debates could be heated and confused. As Yoshiaki Kai aptly summarizes, "Domon's commentary on ''Riarizumu'' Photography gave the impression to the photographic community at that time that he was offering no more than an arbitrary definition of the word, and, even worse, taking advantage of this vaguely defined term to justify his own work and criticize that of others."<ref name=":2" />{{Rp|page=120}} Kai suggests that Domon's discourse was perhaps intentionally broad and vague as the artist continued to practice staged photography, like his well-known ''Portrait'' (''Fūbo'') series, depicting famous figures in literature, art, and cinema.<ref name=":2" />{{Rp|page=121}}

While Domon's discourse on realism could be occasionally unclear, his striking photographs powerfully and competently communicated the difficulties of daily life after the war. Among Domon's most powerful images are those of the survivors of the [[Atomic bombings of Hiroshima and Nagasaki|atomic bombing]] of [[Hiroshima]] and the life, in particular the children, of a poor coal-mining community in Chikuhō. Art historian Alexandra Munroe aptly describes these series: "Clinical, even dispassionate, Domon rejected deliberate artfulness to establish a legacy of evidence."<ref>Alexandra Munroe, "Postwar Japanese Photography and the Pursuit of Consciousness", in ''Daido Moriyama: Stray Dog,'' exh. cat., San Francisco, San Francisco Museum of Modern Art, 1999, p. 31-40, p. 34.</ref>

==== ''Hiroshima'' ====
In 1953, Domon published an essay condemning photographers who "diverted their eyes from current reality", explicitly evoking a photography exhibition organized by the Japan Photography Society (''Nihon Shashinkai'') that made no reference whatsoever to the war and its consequences.<ref name=":5" />{{Rp|page=116}}

Domon visited Hiroshima for the first time in 1957. He sought to capture the effects of the atomic bomb on its inhabitants, thirteen years after the attack.<ref name=":7">Frank Feltens, "'Realist' Betweenness and Collective Victims: Domon Ken's ''Hiroshima''", ''Stanford Journal of East Asian Affairs,'' 11, no. 1, Summer 2011, p. 64-75.</ref>{{Rp|page=68}} Domon published the images in a 1958 eponymous volume, which included 130 pages of photographs and 46 pages of notes by Domon.<ref name=":7" />{{Rp|page=67}} The photographs included viscerally shocking documentary images of surgeries and burned, wounded bodies, as well as images of rather cheerful everyday life of the patients at the Hiroshima Atomic Bomb Hospital.

Photography historian Frank Feltens states that the publication does not deal with the scars of Hiroshima objectively, "but in a highly emotional manner".<ref name=":7" />{{Rp|page=66}} Domon's foreward points to his compatriots' lack of interest for the victims, and he reminds the reader that the atomic bombings could have befallen any Japanese city. Feltens argues that ''Hiroshima'' "was largely intended as a victims' account for a domestic audience in order to create a form of national unity through collective victimization".<ref name=":7" />{{Rp|page=67}}

Domon's photographs brought light to Hiroshima victims' realities. Little information had been shared by the American occupying forces and the Japanese government about the attacks and their consequences.<ref name=":1" />{{Rp|page=82}} Indeed, it was only after the signing of the [[Treaty of San Francisco|San Francisco peace treaty]] that photographs, writings and drawings testifying to the bombings could be published. A 1952 article in ''Asahi Graphic'' magazine, which included photos of the disaster, revealed for the first time to much of the Japanese public the extent of the bombs' aftermath.<ref name=":1" />{{Rp|page=82}} Even then, however, images of the nuclear aftermath were highly controlled. Famously the Japanese iterations of Edward Steichen's internationally-renowned MoMA-sponsored photo exhibition ''Family of Man'' in 1956 and '57 did not include the mushroom cloud photograph featured prominently in the show's other venues, and the images of the aftermath in Nagasaki by Yosuke Yamahata were censored after the opening of the show.<ref>{{Cite web |last=O’Brian |first=John |date=July 2, 2008 |title=The Nuclear Family of Man |url=https://apjjf.org/-John-O'Brian/2816/article.html |access-date=2024-01-18 |website=The Asia-Pacific Journal: Japan Focus}}</ref>

Despite the initial shock generated after its publication, ''Hiroshima'' received critical acclaim and remains a highly appreciated work of art for its humanist vision. Nobel prize laureate [[Kenzaburō Ōe]] wrote: "To depict living people who are fighting against the bomb, rather than the world of those who have died because of the bomb, is to face up head-on to the essence of art from an entirely human perspective."<ref>Kenzaburō Ōe, "Domon Ken no Hiroshima" (Domon Ken's Hiroshima), ''Shinchō,'' December 28, 1977, cited in ''Domon Ken. The Master of Japanese Realism,'' exh. cat., Rome, Museum of the Ara Pacis, Skira, 2016, p. 83.</ref>

=== ''Pilgrimage to ancient temples'' [''Kojijunrei''] and late career ===
Having nourished his interest for Buddhist temples since photographing Murō-ji, Domon continued to photograph temples throughout his career until he was finally no longer physically able. He photographed thirty-nine in total. While the images were originally intended to be printed in the periodical ''[[Camera Mainichi]],'' Domon felt that this format did not suit the material. Instead, the photographs were printed in five rich volumes, published in 1963, 1965, 1968, 1971 and 1975.<ref name=":1" />{{Rp|page=143}} This also gave emphasis to Domon's new use of color film ([[Ektachrome]] E-1) from 1958 onwards.<ref name=":1" />{{Rp|page=144}}

⚫
Concerning his photographs of Japan's traditional culture, Domon wrote, "I am involved with the social realities of today, at the same time that I am involved with the traditions and classical culture of Nara and Kyoto, and these two involvements are linked by their common search for the point in which they are related to the fate of the people, the anger, the sadness, the joys of the Japanese people."<ref>Domon, Ken. "''Demo shuzai to koji junrei'' [Demonstration shooting and pilgrimage to ancient temples], ''[[Asahi Shimbun]]'', 11 March 1968. quoted in Watanabe (1998), p. 4.</ref>

⚫
Domon's method of photographing these temples was to stay at the location for a time before taking the first photo. He would then begin photographing based not on a systematic, scholarly approach to the subject, but based on how his feelings towards the subjects moved him to record them.<ref name="Watanabe, p.23" />{{Rp|pages=4–5}} Domon prefaced the first volume of ''Koji Junrei'' with, "This is thus intended as a beloved book, a book which allows the individual Japanese to reconfirm the culture, the people which formed them."<ref name="Watanabe, p.23" />{{Rp|page=5}}

Domon depended on the help of assistants to work on the series. He was incapacitated by a stroke in 1959 and after six months of rehabilitation, he had difficulties holding a camera correctly. He suffered a second stroke in 1968, resulting in the paralysis of his right side.<ref name=":1" />{{Rp|page=144}} He also had to use a wheelchair. Writing in 1977, the artist recounted how the use of his wheelchair changed his perspective, but that he was able to adjust "in a natural way".<ref name=":1" />{{Rp|page=144}}

The artist took his final photographs in March 1978. In 1979, he experienced a third stroke and fell into a coma, in which he remained until his death in 1990.<ref name=":0" />{{Rp|page=31}} He was eighty years old.

== Legacy ==
Domon received numerous prizes for his work throughout his career, including the Mainichi Photography Award and the Photographer of the Year Award from the Japan Photo Critics Association (''Nihon shashin hihyōka kyōkai'') for the collection ''Hiroshima.''<ref name=":1" />{{Rp|page=183}}


A major mentor to younger photographers since the 1950s when he began judging photography competitions, he remains a major reference point for the Japanese photography world. Since 1981, the [[Mainichi Shimbun|Mainichi Shinbun]] has awarded the [[Domon Ken Award|Domon Ken award]] to a photographer for a published book of documentary photographs.
Among Domon's most powerful images are those taken in the first decade or so after the war, particularly those of the survivors of the atomic bombing of Hiroshima, the life and particularly the children in a poor coal-mining community in [[Chikuhō]],<!-- Not a hypercorrection for "Chikuho" but a different place; see [[:ja:筑豊のこどもたち]] --> [[Kyūshū]]), and the improvised play of children in [[Kōtō, Tokyo|Kōtō]], Tokyo.


1983 marked the opening of the [[Ken Domon Museum of Photography]] (''Domon Ken kinenkan'') in Sakata, Yamagata, the artist's birthplace. Their collection holds about 70,000 prints of works by Domon, which he donated to the city after being named its first honorary citizen. It is the world's first museum dedicated to the work of a sole photographer.
⚫
In 1958 Domon was awarded the Mainichi Photography Award and the Photographer of the Year Award from the Japan Photo Critics Association. He was given the Award of Arts award from the Ministry of Education in 1959 and the Japan Journalist's Congress Award in 1960.<ref name="Szarkowski"/> Domon suffered strokes in 1960 and 1968,<ref name="Szarkowski"/> which eventually prevented him from holding a camera and confined him to a wheelchair. This did not deter him from photography, and in documenting the traditional culture of Japan.<ref name="Watanabe, p.23"/> He traveled energetically around the country, photographing its Buddhist temples in what would become an imposing series of luxuriously produced books. In 1963 he began work on the major work of his life, ''Koji junrei'' (1963–1975).<ref name="Watanabe, p.23"/> Concerning his photographs of Japan's traditional culture, Domon wrote, "I am involved with the social realities of today, at the same time that I am involved with the traditions and classical culture of Nara and Kyoto, and these two involvements are linked by their common search for the point in which they are related to the fate of the people, the anger, the sadness, the joys of the Japanese people."<ref>Domon, Ken. "''Demo shuzai to koji junrei'' [Demonstration shooting and pilgrimage to ancient temples], ''[[Asahi Shimbun]]'', 11 March 1968. quoted in Watanabe (1998), p. 4.</ref>


While Domon is a popular and celebrated figure in Japan, he remains less known abroad. An exhibition curated by Rossella Menegazzo, presented in Rome in 2017 and in Paris in 2023, has permitted the European public to discover Domon's oeuvre.<ref>Maison de la culture du Japon à Paris, ''Ken Domon – le maître du réalisme japonais. :'' https://www.mcjp.fr/fr/agenda/ken-domon-le-maitre-du-realisme-japonais [accessed 13 July 2023].
⚫
Domon's method of photographing these temples was to stay at the location for a time before taking the first photo. He would then begin photographing based not on a systematic, scholarly approach to the subject, but based on how his feelings towards the subjects moved him to record them.<ref>Watanabe (1998), pp. 4-5.</ref> Domon prefaced the first volume of ''Koji Junrei'' with, "This is thus intended as a beloved book, a book which allows the individual Japanese to reconfirm the culture, the people which formed them."<ref name="Watanabe, p.5">Watanabe (1998), p. 5.</ref>


</ref>
In 1976 Domon was completely incapacitated by a third stroke, and he died in Tokyo on 15 September 1990.<ref name="Watanabe, p.23"/> In 1981 Mainichi Newspapers established the annual [[Domon Ken Award]] in celebration of the 110th birthday of the ''[[Mainichi Shimbun]]''; two years later, the [[Domon Ken Photography Museum]] was opened in [[Sakata, Yamagata|Sakata]].


==Publications==
==Publications==
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{{DEFAULTSORT:Domon, Ken}}
[[Category:Japanese photojournalists]]
[[Category:Japanese photojournalists]]
[[Category:Portrait photographers]]
[[Category:Japanese portrait photographers]]
[[Category:Street photographers]]
[[Category:Street photographers]]
[[Category:1909 births]]
[[Category:1909 births]]
[[Category:1990 deaths]]
[[Category:1990 deaths]]
[[Category:People from Yamagata Prefecture]]
[[Category:Artists from Yamagata Prefecture]]
[[Category:Nihon University alumni]]
[[Category:Nihon University alumni]]
[[Category:Recipients of the Medal with Purple Ribbon]]
[[Category:Recipients of the Medal with Purple Ribbon]]

Latest revision as of 05:40, 19 July 2024

Ken Domon
土門 拳
Domon kneeling while looking through his camera
Domon in 1948
Born
Domon Ken (土門 拳)

(1909-10-25)25 October 1909
Sakata, Yamagata Prefecture, Japan
Died15 September 1990(1990-09-15) (aged 80)
Tokyo, Japan
NationalityJapanese
EducationKotaro Miyauchi Photo Studio
Known forPhotography
AwardsMainichi Photography Award (1958)
Japan Photo Critics Association Photographer of the Year Award (1958)
Award of Arts (1959)
Japan Journalist's Congress Award (1960)

Ken Domon (土門 拳, Domon Ken, 25 October 1909 – 15 September 1990) was a celebrated Japanese photographer known for his work as a photojournalist and as a photographer of Buddhist temples and statuary.

Domon, who began his career in the 1930s contributing photo reportages to magazines that supported the increasingly militaristic Japanese state and its imperial policies, later criticized propaganda photography. His subsequent termination from the government agency he worked for spurred his career as a freelance photographer.

As photojournalists grappled with how to depict the new social reality of the post-WWII period, Domon forged the realistic photography movement (Riarizumu Shashin Undō). He embraced the idea of snapshot photography (sunappu), in which images could be captured with "absolute unstagedness".[1] Domon documented the aftermath of the war, focusing on society and the lives of ordinary people. He received national acclaim for his portraits of children in exploitative labor conditions and Hiroshima bomb survivors (hibakusha).

Domon was forced to abandon sunappu photography after he suffered a debilitating stroke in 1958. His major project until the end of his career was photographing temples across Japan, a much-beloved subject that he had first begun to document in 1940. These images constituted the monumental series Pilgrimage to Ancient Temples (Kojijunrei), published in five volumes from 1963 to 1975.

Biography

[edit]

Early life and career beginnings

[edit]

Domon was born to a working-class family in Sakata, Yamagata Prefecture.[2]: 23  After his father lost his job, Domon had to abandon his studies and begin working in a furniture shop.[3]: 28  As a young man, Domon was passionate about painting, and exhibited an oil painting at the Yokohama annual art exhibition in 1926.[3]: 28  However, fearing career instability, he decided not to pursue his interest professionally. Domon was eventually able to finish his studies in 1928 despite his family's financial difficulties.[3]: 28 

In 1929, Domon began taking courses in law at Nihon University.[4]: 182  He continued to paint in his free time and took shamisen lessons.[4]: 182  In 1932, Domon was expelled from Nihon University for his involvement as a secretary at the Agricultural Workers' League (Nōmin kumiai), associated with the Japanese Communist Party.[5] He was arrested by the police and only released upon promising to break all ties with communism.[6]: 109 

Domon's mother advised him to join the photo studio of Miyauchi Kōtarō as an apprentice in 1933.[4]: 182  His entry into the photographic scene coincided with the flourishing of the medium in Japan in the late 1920s and early 1930s: photographic journals like Photo Times and Kōga allowed the Japanese public to view images produced by European avant-garde photographers. The exhibition Film und Foto, first held in 1929 in Stuttgart, subsequently traveling to Tokyo and Osaka in 1931, was equally instrumental in energizing Japanese photographers.[3]: 28  Additionally, the newly-available Leica, a small and affordable camera, allowed amateurs to begin taking photographs, which encouraged the development of new photography groups.[3]: 28  Domon familiarized himself rapidly with the medium thanks to his voracious consumption of lectures from hundreds of photography books and magazines.[4]: 182 

Early career, 1933-1939

[edit]

From the outset of his career, Domon expressed an interest in photography with social and cultural themes.[3]: 28  After publishing his first photo in the magazine Asahi Camera in 1935, he left his apprenticeship at Kōtarō's photo studio prematurely to work for Nippon Kōbō, an agency founded by photographer Yōnosuke Natori.[7]: 23  From 1934 until the end of the Asia Pacific War, the agency published NIPPON, a photo magazine targeted at foreigners to promote Japanese culture abroad.[8]: 751  Art historian Gennifer Weisenfeld notes that as such "it served as a quasi-governmental organ of national propaganda", receiving support from several state agencies.[8]: 753 

Domon has stated that he lacked confidence and technical skill working on his first assignments, but he soon developed his craft and with it his self-assurance.[7]: 23  Tension between the young photographer and his superior Natori soon set in. The work of the Nippon Kōbō photographers was considered a "company product" and thus was credited only to Natori, to Domon's chagrin.[7]: 23 

His first reportage for NIPPON, published in 1936 and taken with his Leica, covered the Shichi-go-san festival at the Meiji Jingu shrine in Tokyo.[3]: 28  He then completed several shoots highlighting Japanese artisans and traditions.[4]: 33  These early black and white photographs are often artfully composed, with dynamic lines and forms.  

Photojournalism began to transform in the mid-1930s as Japan became increasingly nationalistic in the wake of the imperial expansion, eventually leading to the second Sino-Japanese war and the country's participation in World War II. Domon's pictures consequently became military-focused, depicting subjects such as Red Cross nurses and soldiers in training. His compositions rely on tightly organized groupings that convey collective order and strict discipline.

The tension between Natori and Domon continued to grow as Domon developed his ideas on photography and began publishing his photos in other magazines. Natori believed photography to be at the service of mass media, whereas Domon believed that the medium was a form of artistic expression.[4]: 33  In 1939, Domon left Nippon Kōbō after being recruited to work for the Agency for International Cultural Relations (Kokusai Bunka Shinkōkai, "KBS"), a national propaganda organization. Curator Mari Shirayama posits that Natori played a role in instigating his recruitment, understanding that he could no longer collaborate professionally with Domon.[7]: 24  At the KBS, Domon notably contributed to a series of large photography panels that promoted Japan at the International Exhibition at the World's Fair in San Francisco.[3]: 29  During this time, Domon also played a central role in the Japanese Society of Reportage Photographers (Nippon Hōdō Shashin-ka Kyōkai).[6]: 111 

War years, 1939-1945

[edit]

The intensifying war effort brought about major changes for Japanese photographers. Following the end of free publication, many magazines were forced to cease their operations.[3]: 29  Consequently, opportunities for commissions grew scarce. Now married to his wife Tami, whom he met in 1939, Domon struggled to financially support their growing family.[3]: 29  He also lived in fear of being sent to the warfront as a photojournalist.[3]: 29 

Withdrawing temporarily from the tense wartime climate, Domon visited the remote Buddhist temple Murō-ji in Nara Prefecture in 1939, accompanied by his friend and art historian Sumio Mizusawa.[4]: 143  He returned forty times that same year and would return frequently over the course of the following decade, irrefutably drawn to "the apparent immutability of the majestic nature of this little temple".[4]: 143  He began taking photos in 1940 of its architecture and wooden Buddha statues (kōninbutsu), using a wooden portrait camera made by Konishiroku (now Konica). He also gradually got to know the villagers and the war-related tragedies they lived through.[9]: 114  Murō-ji would be the catalyst for Domon's life-long work, Pilgrimage to Ancient Temples (Kojijunrei).

Domon's other significant wartime endeavor was a series on bunraku, a traditional form of Japanese puppet theater, which he began in 1941. Working with the puppeteers and the dark setting of the theater proved to be challenging. Nonetheless, Domon, with the help of assistants, worked tirelessly, using a heavy, primitive camera that was difficult to operate.[4]: 59  The project was also threatened by a lack of sufficient materials due to wartime rationing.[4]: 59  However, by 1943, they had produced 7,000 negatives.[3]: 29  A selection of these images was published in the 1972 publication Bunraku.

Domon remained visible in the public sphere during the war, lecturing and writing about photography.[3]: 29 In 1943, he published an article in the magazine Nihon Hyōron in which he announced his opposition to the use of magazines for propaganda, leading to the banning of the issue and his termination from KBS.[4]: 182  Domon thus began forging his career as an independent freelance photographer.[4]: 182 

Domon was to be drafted at the end of the war in 1945, but failed the required medical examination.[4]: 182 

Post-war and Realism, 1945-1960

[edit]

The period following the Japanese defeat was a time of great societal unrest. Like many other photographers, Domon struggled to support himself. He made ends meet by developing film and printing photographs for G.I.s.[10]: 314  As the publishing business gradually recovered, he was able to find jobs working for different photo magazines.

In 1950, Domon began work as a judge for the monthly photo contest organized by Camera magazine. He wrote short texts that accompanied the amateur photographs, and it was in these texts that the photographer began using "realism" (Riarizumu) to describe the photographs he admired.[6]: 112 

By employing the term "realism", Domon built upon the first major debate in the Japanese art world during the post-war period. From 1946 to 1950, intellectuals and artists across disciplines tackled in heated discussions the question of what constituted "realism". Art historian Yuri Mitsuda importantly notes that "the realism debate was so divisive because it was not simply a matter of different formalistic preferences. The true topic being discussed was the attitude with which artists should confront reality and explore that reality through art."[11]

Domon associated realism with the photographic "snapshot" (sunappu). He first encountered this notion at a round-table discussion with the ethnographer Kunio Yanigita in 1943. Yanigita argued that staged images had no scholarly value and advocated for the "snapshot": an image where no direction is given by the photographer.[10]: 313  While at first Domon did not agree, he soon adopted this point of view. He believed that such photographs were the means to an objective depiction of society.[10]: 313 

The artist's frequent writings and contributions to the discussion around sunappu and realism were not always coherent, therefore debates could be heated and confused. As Yoshiaki Kai aptly summarizes, "Domon's commentary on Riarizumu Photography gave the impression to the photographic community at that time that he was offering no more than an arbitrary definition of the word, and, even worse, taking advantage of this vaguely defined term to justify his own work and criticize that of others."[6]: 120  Kai suggests that Domon's discourse was perhaps intentionally broad and vague as the artist continued to practice staged photography, like his well-known Portrait (Fūbo) series, depicting famous figures in literature, art, and cinema.[6]: 121 

While Domon's discourse on realism could be occasionally unclear, his striking photographs powerfully and competently communicated the difficulties of daily life after the war. Among Domon's most powerful images are those of the survivors of the atomic bombing of Hiroshima and the life, in particular the children, of a poor coal-mining community in Chikuhō. Art historian Alexandra Munroe aptly describes these series: "Clinical, even dispassionate, Domon rejected deliberate artfulness to establish a legacy of evidence."[12]

Hiroshima

[edit]

In 1953, Domon published an essay condemning photographers who "diverted their eyes from current reality", explicitly evoking a photography exhibition organized by the Japan Photography Society (Nihon Shashinkai) that made no reference whatsoever to the war and its consequences.[9]: 116 

Domon visited Hiroshima for the first time in 1957. He sought to capture the effects of the atomic bomb on its inhabitants, thirteen years after the attack.[13]: 68  Domon published the images in a 1958 eponymous volume, which included 130 pages of photographs and 46 pages of notes by Domon.[13]: 67  The photographs included viscerally shocking documentary images of surgeries and burned, wounded bodies, as well as images of rather cheerful everyday life of the patients at the Hiroshima Atomic Bomb Hospital.

Photography historian Frank Feltens states that the publication does not deal with the scars of Hiroshima objectively, "but in a highly emotional manner".[13]: 66  Domon's foreward points to his compatriots' lack of interest for the victims, and he reminds the reader that the atomic bombings could have befallen any Japanese city. Feltens argues that Hiroshima "was largely intended as a victims' account for a domestic audience in order to create a form of national unity through collective victimization".[13]: 67 

Domon's photographs brought light to Hiroshima victims' realities. Little information had been shared by the American occupying forces and the Japanese government about the attacks and their consequences.[4]: 82  Indeed, it was only after the signing of the San Francisco peace treaty that photographs, writings and drawings testifying to the bombings could be published. A 1952 article in Asahi Graphic magazine, which included photos of the disaster, revealed for the first time to much of the Japanese public the extent of the bombs' aftermath.[4]: 82  Even then, however, images of the nuclear aftermath were highly controlled. Famously the Japanese iterations of Edward Steichen's internationally-renowned MoMA-sponsored photo exhibition Family of Man in 1956 and '57 did not include the mushroom cloud photograph featured prominently in the show's other venues, and the images of the aftermath in Nagasaki by Yosuke Yamahata were censored after the opening of the show.[14]

Despite the initial shock generated after its publication, Hiroshima received critical acclaim and remains a highly appreciated work of art for its humanist vision. Nobel prize laureate Kenzaburō Ōe wrote: "To depict living people who are fighting against the bomb, rather than the world of those who have died because of the bomb, is to face up head-on to the essence of art from an entirely human perspective."[15]

Pilgrimage to ancient temples [Kojijunrei] and late career

[edit]

Having nourished his interest for Buddhist temples since photographing Murō-ji, Domon continued to photograph temples throughout his career until he was finally no longer physically able. He photographed thirty-nine in total. While the images were originally intended to be printed in the periodical Camera Mainichi, Domon felt that this format did not suit the material. Instead, the photographs were printed in five rich volumes, published in 1963, 1965, 1968, 1971 and 1975.[4]: 143  This also gave emphasis to Domon's new use of color film (Ektachrome E-1) from 1958 onwards.[4]: 144 

Concerning his photographs of Japan's traditional culture, Domon wrote, "I am involved with the social realities of today, at the same time that I am involved with the traditions and classical culture of Nara and Kyoto, and these two involvements are linked by their common search for the point in which they are related to the fate of the people, the anger, the sadness, the joys of the Japanese people."[16]

Domon's method of photographing these temples was to stay at the location for a time before taking the first photo. He would then begin photographing based not on a systematic, scholarly approach to the subject, but based on how his feelings towards the subjects moved him to record them.[2]: 4–5  Domon prefaced the first volume of Koji Junrei with, "This is thus intended as a beloved book, a book which allows the individual Japanese to reconfirm the culture, the people which formed them."[2]: 5 

Domon depended on the help of assistants to work on the series. He was incapacitated by a stroke in 1959 and after six months of rehabilitation, he had difficulties holding a camera correctly. He suffered a second stroke in 1968, resulting in the paralysis of his right side.[4]: 144  He also had to use a wheelchair. Writing in 1977, the artist recounted how the use of his wheelchair changed his perspective, but that he was able to adjust "in a natural way".[4]: 144 

The artist took his final photographs in March 1978. In 1979, he experienced a third stroke and fell into a coma, in which he remained until his death in 1990.[3]: 31  He was eighty years old.

Legacy

[edit]

Domon received numerous prizes for his work throughout his career, including the Mainichi Photography Award and the Photographer of the Year Award from the Japan Photo Critics Association (Nihon shashin hihyōka kyōkai) for the collection Hiroshima.[4]: 183 

A major mentor to younger photographers since the 1950s when he began judging photography competitions, he remains a major reference point for the Japanese photography world. Since 1981, the Mainichi Shinbun has awarded the Domon Ken award to a photographer for a published book of documentary photographs.

1983 marked the opening of the Ken Domon Museum of Photography (Domon Ken kinenkan) in Sakata, Yamagata, the artist's birthplace. Their collection holds about 70,000 prints of works by Domon, which he donated to the city after being named its first honorary citizen. It is the world's first museum dedicated to the work of a sole photographer.

While Domon is a popular and celebrated figure in Japan, he remains less known abroad. An exhibition curated by Rossella Menegazzo, presented in Rome in 2017 and in Paris in 2023, has permitted the European public to discover Domon's oeuvre.[17]

Publications

[edit]

Books by Domon

[edit]
  • Nihon no chōkoku (日本の彫刻). Tokyo: Bijutsushuppansha, 1952.
    • 2. Asuka jidai (飛鳥時代).
    • 5. Heian jidai (平安時代).
  • Fūbō (風貌). Tokyo: Ars, 1953.
  • Murōji (室生寺). Tokyo: Bijutsushuppansha, 1955.
  • The Muro-ji, an eighth century Japanese temple: Its art and history. Tokyo: Bijutsu Shuppansha, c. 1954. Text by Roy Andrew Miller.
  • With 渡辺勉. Gendai geijutsu kōza (現代芸術講座 写真). 1956.
  • Murōji (室生寺). Tokyo: Bijutsushuppansha, 1957.
  • Domon Ken sakuhinshū (土門拳作品集). Gendai Nihon shashin zenshū 2. 創元社, 1958.
  • Hiroshima (ヒロシマ) / Hiroshima. 研光社, 1958.
  • Chūsonji (中尊寺). Nihon no Tera 4. Tokyo: Bijutsushuppansha, 1959.
  • Saihōji, Ryūanji (西芳寺・竜安寺). Nihon no tera 10. Tokyo: Bijutsushuppansha, 1959.
  • Chikuhō no kodomotachi: Ken Domon shashinshū (筑豊のこどもたち：土門拳写真集). Patoria Shoten, 1960. 築地書館, 1977.
  • Chikuhō no kodomotachi: Ken Domon shashinshū. Zoku: Rumie-chan ha otōsan ga shinda (筑豊のこどもたち：土門拳写真集 続　るみえちゃんはお父さんが死んだ). Patoria Shoten, 1960.
  • Hōryūji (法隆寺). Nihon no Tera 6. Tokyo: Bijutsushuppansha, 1961.
  • Murōji (室生寺). Nihon no Tera 13. Tokyo: Bijutsushuppansha, 1961.
  • Kyōto (京都). Nihon no Tera. Tokyo: Bijutsushuppansha, 1961.
  • Nara (奈良). Nihon no Tera. Tokyo: Bijutsushuppansha, 1961.
  • (in English) Masterpieces of Japanese sculpture Tokyo: Bijutsuhuppansha; Rutland, Vt.: Tuttle, 1961. Text by J. E. Kidder.
  • Kasuga (春日). Nihon no Yashiro 4. Tokyo: Bijutsushuppansha, 1962.
  • Koji junrei (古寺巡礼). 5 vols. Tokyo: Bijutsushuppansha, 1963–75. International edition (with English texts added to the Japanese): A Pilgrimage to Ancient Temples. Tokyo: Bijutsushuppansha, 1980.
  • Tōji: Daishinomitera (東寺: 大師のみてら). Tokyo: Bijutsushuppansha, 1965.
  • Shigaraki Ōtsubo (信楽大壷). Tokyo: Chūnichi Shinbun Shuppankyoku, 1965.
  • Sōfū; his boundless world of flowers and form. Tokyo: Kodansha International, 1966. Text by Teshigahara Sōfu.
  • Nihonjin no genzō (日本人の原像). Tokyo: Heibonsha, 1966.
  • Yakushiji (薬師寺). Tokyo: Mainichi Shinbunsha, 1971.
  • Bunraku (文楽). Kyoto: Shinshindō, 1972.
  • Tōdaiji (東大寺). Tokyo: Heibonsha, 1973.
  • (in Japanese) Nihon meishōden (日本名匠伝). Kyoto: Shinshindō, 1974. Portraits of the famous, mostly in color.
  • Koyō henreki (古窯遍歴). Tokyo: Yarai Shoin, 1974.
  • Shinu koto to ikiru koto (死ぬことと生きること). 築地書館, 1974.
  • (in Japanese) Watakushi no bigaku (私の美学, My aesthetics). Kyoto: Shinshindō, 1975. Domon photographs Japanese arts and architecture (in both black and white and color), and writes commentary on these.
  • Nihon no bi (日本の美). Nishinomiya: Itō Hamu Eiyō Shokuhin, 1978.
  • Shashin hihyō (写真批評). Daviddosha, 1978.
  • Nyoninkōya Murōji (女人高野室生寺). Tokyo: Bijutsushuppansha, 1978.
  • (in Japanese) Fūkei (風景). Tokyo: Yarai Shoin, 1976. Popular edition, Tokyo: Yarai Shoin, 1978.
  • Gendai chōkoku: Chōkoku no Mori Bijutsukan korekushon (現代彫刻: 彫刻の森美術館コレクション) / Sculptures modernes: Collection de The Hakone Open-air Museum. Tokyo: Sankei Shinbunsha, 1979. With some French as well as Japanese text.
  • Shashin zuihitsu (写真随筆). Tokyo: Daviddosha, 1979.
  • Domon Ken Nihon no Chōkoku(土門拳日本の彫刻). Tokyo: Bijutsushuppansha.
    • 1. Asuka, Nara (飛鳥・奈良). 1979.
    • 2. Heian zenki (平安前期). 1980.
    • 3. Heian kōki, Kamakura (平安後期・鎌倉). 1980.
  • Domon Ken: Sono shūi no shōgen (土門拳：その周囲の証言). Tokyo: Asahi Sonorama, 1980.
  • Nihon no bien (日本の美艶). Gendai Nihon Shashin Zenshū 7. Tokyo: Shūeisha, 1980.
  • Domon Ken Nihon no kotōji: Tanba, Imari, Karatsu, Eshino, Oribe, Tokoname, Atsumi, Shigaraki, Kutani, Bizen (土門拳日本の古陶磁：丹波・伊万里・唐津・絵志野・織部・常滑・渥美・信楽・九谷・備前). Tokyo: Bijutsushuppansha, 1981.
  • (in Japanese) Domon Ken (土門拳). Shōwa Shashin Zenshigoto 5. Tokyo: Asahi Shuppansha, 1982. A survey of Domon's work.
  • Domon Ken zenshū (土門拳全集). Tokyo: Shōgakukan.
    • 1. Koji junrei 1 Yamato-hen jō (古寺巡礼 1 大和篇 上). 1983. ISBN 4-09-559001-7.
    • 2. Koji junrei 2 Yamato-hen ge (古寺巡礼 2 大和篇 下). 1984. ISBN 4-09-559002-5.
    • 3. Koji junrei 3 Kyōto-hen (京都篇). ISBN 4-09-559003-3.
    • 4. Koji junrei 4 Zenkoku-hen (古寺巡礼 4 全国篇). 1984. ISBN 4-09-559004-1.
    • 5. Nyonin Kōya Muroji (女人高野室生寺). 1984. ISBN 4-09-559005-X.
    • 6. Bunraku (文楽). 1985. ISBN 4-09-559006-8.
    • 7. Dentō no katachi (伝統のかたち). 1984. ISBN 4-09-559007-6.
    • 8. Nihon no fūkei (日本の風景). 1984. ISBN 4-09-559008-4.
    • 9. Fūbō (風貌). 1984. ISBN 4-09-559009-2.
    • 10. Hiroshima (ヒロシマ). 1985. ISBN 4-09-559010-6.
    • 11. Chikuhō no kodomotachi (筑豊のこどもたち). 1985. ISBN 4-09-559011-4.
    • 12. Kessakusen jō (傑作選 上). 1985. ISBN 4-09-559012-2.
    • 13. Kessakusen ge (傑作選 下). 1985. ISBN 4-09-559013-0.
  • Domon Ken no koji junrei (土門拳の古寺巡礼). Tokyo: Shōgakukan, 1989–90.
  • Domon Ken Nihon no butsuzō (土門拳日本の仏像). Tokyo: Shōgakukan, 1992. ISBN 4-09-699421-9.
  • Murōji (室生寺). Nihon Meikenchiku Shashinsenshū 1. Tokyo: Shinchōsha, 1992. ISBN 4-10-602620-1.
  • Domon Ken no Shōwa (土門拳の昭和). Tokyo: Shōgakukan, 1995.
  • Koji junrei (古寺巡礼). Tokyo: Mainichi Shinbunsha, c1995.
  • Domon Ken Koji Junrei (土門拳古寺巡礼). Tokyo: Bijutsu Shuppansha, 1996. ISBN 4-568-12056-X.
  • Shashin to jinsei: Domon Ken esseishū (写真と人生：土門拳エッセイ集). Dōjidai Raiburarī. Tokyo: Iwanami, 1997.
  • (in Japanese) Domon Ken (土門拳). Nihon no Shashinka. Tokyo: Iwanami, 1998. ISBN 4-00-008356-2.
  • Koji junrei (古寺巡礼). Tokyo: Shōgakukan, 1998. ISBN 4-09-681151-3.
  • 風貌 愛蔵版 Tokyo: Shōgakukan, 1999. ISBN 4-09-681152-1.
  • Domon Ken kottō no bigaku (土門拳骨董の美学). Korona Bukkusu 69. Tokyo: Heibonsha, 1999. ISBN 4-582-63366-8.
  • Domon Ken no tsutaetakatta Nihon (土門拳の伝えたかった日本) Tokyo: Mainichi Shuppansha, 2000. ISBN 4-620-60559-X.
  • Domon Ken Nihon no chōkoku (土門拳日本の彫刻 Tokyo: Mainichi Shinbunsha, c2000. Exhibition catalogue.
  • Kengan (拳眼). Tokyo: Sekai Bunkasha, 2001. ISBN 4-418-01521-3.
  • Kenshin (拳心). Tokyo: Sekai Bunkasha, 2001. ISBN 4-418-01522-1.
  • Kenkon (拳魂). Tokyo: Sekai Bunkasha, 2002. ISBN 4-418-02509-X.
  • 逆白波のひと・土門拳の生涯 / 佐高信∥ Āto Serekushon. Tokyo: Shōgakukan, 2003.
  • Domon Ken tsuyoku utsukushii mono: Nihon bitanbō (土門拳強く美しいもの：日本美探訪) Shōgakukan Bunko. Tokyo: Shōgakukan, 2003. ISBN 4-09-411426-2.

Books with works by Domon

[edit]

Books on Domon

[edit]
  • Satake Makoto (佐高信). Sakashiranami no hito: Domon Ken no shōgai (逆白波のひと・土門拳の生涯). Tokyo: Shōgakukan, 2003. ISBN 4-09-607015-7.

References

[edit]
  1. ^ Ken Domon, "Riarizumu shashin to saron pikuchā" (Photographic Realism and the Salon Picture), Camera, October 1953, translated by Ivan Vartanian in Ivan Vartanian, Akihiro Hatanaka, and Yutaka Kanabayashi (ed.), Setting Sun: Writings by Japanese Photographers, New York, Aperture, 2005, p.22-27., p. 22.
  2. ^ a b c Yoshio Watanabe, Ken Domon and Yasuhiro Ishimoto, The Beauty of Japan Photographed, Tokyo, The Japan Foundation, 1998.
  3. ^ a b c d e f g h i j k l m n Rossella Menegazzo, "The Realist Approach to a Changing Japan: From Art Photography to Social Documentation", Domon Ken. The Master of Japanese Realism, exh. cat., Rome, Museum of the Ara Pacis, Skira, 2016, p. 27-31.
  4. ^ a b c d e f g h i j k l m n o p q r s t Domon Ken. The Master of Japanese Realism, exh. cat., Rome, Museum of the Ara Pacis, Skira, 2016.
  5. ^ John Szarkowski and Shoji Yamagishi (ed.), New Japanese Photography, exh. cat., New York, Museum of Modern Art, 1974, p. 106.
  6. ^ a b c d e Yoshiaki Kai, "Sunappu: A Genre of Japanese Photography, 1930-1980", PhD dissertation, The City University of New York, 2012.
  7. ^ a b c d Mari Shirayama, "The Three Rivals of Japanese Photojournalism", in Domon Ken. The Master of Japanese Realism, exh. cat., Rome, Museum of the Ara Pacis, Skira, 2016, p. 23-25.
  8. ^ a b Gennifer Weisenfeld, "Touring Japan-as-Museum: NIPPON and Other Japanese Imperialist Travelogues", Positions: East Asia Cultures Critique, vol. 8, no. 3, 2000, p. 747-793.
  9. ^ a b Alice Y. Tseng, "Domon Ken's Murōji", Impressions, 2009, no. 30, p. 114-118.
  10. ^ a b c Edward Putzar, "The Reality of Domon Ken", Japan Quarterly, vol. 41, no. 3, July 1994, p 208-322.
  11. ^ Yuri Mitsuda, "The 'Realism Debate' [Riarizumu Ronsō]", in Noriaki Kitazawa, Takemi Kuresawa and Yuri Mitsuda (ed.), History of Japanese Art After 1945. Institutions, Discourse, Practice, Leuven, Leuven University Press, 2023, p. 63.
  12. ^ Alexandra Munroe, "Postwar Japanese Photography and the Pursuit of Consciousness", in Daido Moriyama: Stray Dog, exh. cat., San Francisco, San Francisco Museum of Modern Art, 1999, p. 31-40, p. 34.
  13. ^ a b c d Frank Feltens, "'Realist' Betweenness and Collective Victims: Domon Ken's Hiroshima", Stanford Journal of East Asian Affairs, 11, no. 1, Summer 2011, p. 64-75.
  14. ^ O’Brian, John (July 2, 2008). "The Nuclear Family of Man". The Asia-Pacific Journal: Japan Focus. Retrieved 2024-01-18.
  15. ^ Kenzaburō Ōe, "Domon Ken no Hiroshima" (Domon Ken's Hiroshima), Shinchō, December 28, 1977, cited in Domon Ken. The Master of Japanese Realism, exh. cat., Rome, Museum of the Ara Pacis, Skira, 2016, p. 83.
  16. ^ Domon, Ken. "Demo shuzai to koji junrei [Demonstration shooting and pilgrimage to ancient temples], Asahi Shimbun, 11 March 1968. quoted in Watanabe (1998), p. 4.
  17. ^ Maison de la culture du Japon à Paris, Ken Domon – le maître du réalisme japonais. : https://www.mcjp.fr/fr/agenda/ken-domon-le-maitre-du-realisme-japonais [accessed 13 July 2023].

Further reading

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  • Watanabe, Yoshio; Domon, Ken; Ishimoto, Yasuhiro (1998). "The Severe, Steady Gaze-- Domon Ken's Koji Junrei". The Beauty of Japan Photographed. Tokyo: The Japan Foundation. pp. 4–5.
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