Gezicht op een torii en de Futarasan jinja in Nikko c. 1895 - 1905

Curator: Here we see an albumen print from Kōzaburō Tamamura, taken between 1895 and 1905, entitled "Gezicht op een torii en de Futarasan jinja in Nikko," or, "View of a torii and the Futarasan Shrine in Nikko." Editor: What strikes me is the torii's imposing dark presence set against that slightly misty, diffused background. The artist managed to evoke a really contemplative mood. Curator: Yes, Tamamura’s studio, operating from the late 19th to early 20th century, frequently capitalized on such cultural touchstones to cater to the Western fascination with Japan. We must remember that Nikko was emerging as a crucial site for both Japanese nationalism and Western tourism, each finding value in the preservation, albeit for vastly differing reasons, of Nikko’s religious sites and imperial mausoleums. Editor: That makes perfect sense. Seeing that contrast, it is not so obvious at first sight that the structure serves as a symbolic gateway between the profane and sacred spaces. Instead, the viewer’s eye is caught by its lines, its geometry almost creating a frame within a frame to focus your gaze. And look at how the subtle hand-coloring adds depth to the natural elements while leaving the torii nearly monochrome. Curator: And there’s an element of staging here too. Consider the socio-political role that photography had. Westerners saw images like this as authentic records, little suspecting the constructed nature of these scenes. Tamamura and his contemporaries deftly navigated a tricky market—satisfying demands for "exotic" views. Editor: Still, it is a really arresting piece of craftsmanship and I have to imagine these albumen prints also became highly collectable as beautiful artworks beyond the social narratives we’ve revealed here. Curator: Absolutely. Thinking of it that way offers another way to see how art historical narratives intertwine. Editor: Agreed. Looking at it again through your eyes has certainly changed the way I read it.