Twee gezichten op de tuinen van de Daimio van Satsuma in Kagoshima, Japan before 1893

Curator: Soothing, almost meditative…that’s my first reaction. A visual haiku, perhaps? Editor: Precisely. Let’s delve into this print, shall we? What we have here are two studies of gardens titled, "Twee gezichten op de tuinen van de Daimio van Satsuma in Kagoshima, Japan" or, in English, “Two Views of the gardens of the Daimio of Satsuma in Kagoshima, Japan.” Curator: I adore that phrase – Daimio's garden. It sounds so...epic, yet intimate. I feel a sense of careful control over nature, you know? Like nature being invited in, not conquered. Editor: Notice the formal photographic arrangement here, predating 1893, from the hand of Kazumasa Ogawa. These prints are photographic impressions published using what's known as the collotype process, quite fascinating, creating a flat surface effect that emphasizes the textures. Curator: And yet, beyond technique, what lingers is the serene feeling it conjures. In the upper print, the pagoda peeps out amongst the trees and suggests ancient stories, maybe some whispers of the spirits… What I see in the photograph below this one is something so calm and tranquil: nature, yes, but also life continuing in all seasons. Editor: Absolutely. Structurally, consider how the interplay of light and shadow delineates space, inviting the eye to travel and how both reflect a distinctly Japanese aesthetic—balance, harmony, and an intentional arrangement of natural elements. I suggest one notes too how Japonisme might also impact it, from a Western Formal perspective of course. Curator: I can only dream that it's captured me forever. Imagine breathing in the misty air, sensing the stone beneath your fingertips...That's the essence Ogawa bottled with his photographs! Editor: And that is perhaps where the true appeal lies. A fleeting moment in time rendered permanent. That duality and contrast will be with the photograph forever.