Begrafenisstoet in Japan 1890 - 1894

Editor: We're looking at "Begrafenisstoet in Japan," or "Funeral Procession in Japan," a gelatin-silver print, taken sometime between 1890 and 1894 by Kusakabe Kimbei. The eye is immediately drawn to the sheer number of people present. It feels almost like a document, but also carefully arranged. What strikes you most about its formal qualities? Curator: Precisely. Note the photographer's calculated manipulation of depth, carefully leading the eye. The foreground presents a dense mass of faces, establishing a distinct plane. Beyond this, the receding figures, differentiated by dress and ornamentation, gradually diminish in scale, emphasizing depth, a controlled recession. Editor: I see what you mean. The photographer seems concerned with controlling perspective, using the varying sizes of the figures to give the illusion of depth. But what about the flatness that is also very present? The umbrellas, for example, almost create a ceiling. Curator: A perceptive observation! The 'ceiling' of parasols introduces an intriguing tension, counteracting the illusionistic depth we discussed. This tension highlights the surface qualities of the photograph itself. Notice how Kimbei juxtaposes linear elements like the vertical banners with organic forms: floral arrangements, hats, all interwoven, almost creating a collage effect within the photographic frame. The eye is invited to consider foreground against background. Editor: So, even within what appears to be a straightforward scene, there's a deliberate play with depth and flatness, form and texture. This makes me see beyond the subject and more the aesthetic strategy. Curator: Exactly! It encourages one to explore how Kimbei, through composition and treatment of light, transforms a scene of public mourning into a sophisticated aesthetic exercise. Editor: Thanks. That definitely encourages a closer and renewed look at this photograph.