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邁向另一個國度
日本攝影三大巨擘 森山大道最新親筆著作
收錄近年來多幅未發表的攝影作品，以及經典散文
「對我而言，所謂藝術，是在日常生活中創造出裂縫般的瞬間，讓我透過縫隙，一窺異界樣貌。在此意義之上，與藝術的邂逅，根本就不需要博物館、美術館甚至畫冊之類的媒介。」
所以，在《邁向另一個國度》中，森山大道書寫的是日常。
他不僅用照片，也以靈光之筆寫出隱藏在表象之後的現實片段，日常生活所映照的一切。
「那一瞬間，日常生活的深邃處反轉外露，隱約可見。」
「那份可窺見的黑暗，正是核心本質所在。」
這是不僅席捲日本，也征服了全球的森山大道。
這位一代攝影大師在他「從心所欲」之年，沉殿回顧夏威夷及布宜諾艾利斯等地的攝影旅程、與生命中數位女性的曖昧情愫，以及平交道、橋樑、花器、動物園等日常風景在他心中的意象，以及隨之喚起的深處記憶……他的影像作品充滿直接原始而強烈的情緒，文字間的內心風景卻時而隱晦幽深。
書名邁向「另一個國度」，可能是和他氣味相投的魅力城市——
「唯有精明幹練才能生存」的新宿、充滿「可疑氣息」的布宜諾斯艾利斯……
也許是他內心蒼茫的風景，因為——
「路上的悲劇與喜劇多得不可勝數。 攝影師唯一的應對方式是恣意拿起相機，一股腦的深入，此外別無他法……」
近距離接觸過森山大道的人，對他的描述多是「隱忍、壓抑、寡言」；攝影評論者認為「對未來的絕望感」是森山作品的主要關注；大師的拍照姿勢，通常是右手單手拿相機，左手……抽菸或是插口袋！
我們只能走近再走近，深入再深入，然後拼湊出一代攝影大師的「另一個國度」。
收錄近年來多幅未發表的攝影作品，以及經典散文
「對我而言，所謂藝術，是在日常生活中創造出裂縫般的瞬間，讓我透過縫隙，一窺異界樣貌。在此意義之上，與藝術的邂逅，根本就不需要博物館、美術館甚至畫冊之類的媒介。」
所以，在《邁向另一個國度》中，森山大道書寫的是日常。
他不僅用照片，也以靈光之筆寫出隱藏在表象之後的現實片段，日常生活所映照的一切。
「那一瞬間，日常生活的深邃處反轉外露，隱約可見。」
「那份可窺見的黑暗，正是核心本質所在。」
這是不僅席捲日本，也征服了全球的森山大道。
這位一代攝影大師在他「從心所欲」之年，沉殿回顧夏威夷及布宜諾艾利斯等地的攝影旅程、與生命中數位女性的曖昧情愫，以及平交道、橋樑、花器、動物園等日常風景在他心中的意象，以及隨之喚起的深處記憶……他的影像作品充滿直接原始而強烈的情緒，文字間的內心風景卻時而隱晦幽深。
書名邁向「另一個國度」，可能是和他氣味相投的魅力城市——
「唯有精明幹練才能生存」的新宿、充滿「可疑氣息」的布宜諾斯艾利斯……
也許是他內心蒼茫的風景，因為——
「路上的悲劇與喜劇多得不可勝數。 攝影師唯一的應對方式是恣意拿起相機，一股腦的深入，此外別無他法……」
近距離接觸過森山大道的人，對他的描述多是「隱忍、壓抑、寡言」；攝影評論者認為「對未來的絕望感」是森山作品的主要關注；大師的拍照姿勢，通常是右手單手拿相機，左手……抽菸或是插口袋！
我們只能走近再走近，深入再深入，然後拼湊出一代攝影大師的「另一個國度」。
272 pages, Hardcover
First published February 8, 2010
2 people want to read
About the author
Daidō Moriyama
291 books56 followersDaidō Moriyama (Japanese: 森山 大道, Hepburn: Moriyama Daidō, born October 10, 1938) is a Japanese photographer best known for his black-and-white street photography and association with the avant-garde photography magazine Provoke.
Moriyama began his career as an assistant to photographer Eikoh Hosoe, a co-founder of the avant-garde photo cooperative Vivo, and made his mark with his first photobook Japan: A Photo Theater, published in 1968. His formative work in the 1960s boldly captured the darker qualities of urban life in postwar Japan in rough, unfettered fashion, filtering the rawness of human experience through sharply tilted angles, grained textures, harsh contrast, and blurred movements through the photographer's wandering gaze. Many of his well-known works from the 1960s and 1970s are read through the lenses of post-war reconstruction and post-Occupation cultural upheaval.
Moriyama continued to experiment with the representative possibilities offered by the camera in his 1969 Accident series, which was serialized over one year in the photo magazine Asahi Camera, in which he deployed his camera as a copying machine to reproduce existing media images. His 1972 photobook Farewell Photography, which was accompanied by an interview with his fellow Provoke photographer Takuma Nakahira, presents his radical effort to dismantle the medium.
Although the photobook is a favored format of presentation among Japanese photographers, Moriyama was particularly prolific: he has produced more than 150 photobooks since 1968.
Moriyama began his career as an assistant to photographer Eikoh Hosoe, a co-founder of the avant-garde photo cooperative Vivo, and made his mark with his first photobook Japan: A Photo Theater, published in 1968. His formative work in the 1960s boldly captured the darker qualities of urban life in postwar Japan in rough, unfettered fashion, filtering the rawness of human experience through sharply tilted angles, grained textures, harsh contrast, and blurred movements through the photographer's wandering gaze. Many of his well-known works from the 1960s and 1970s are read through the lenses of post-war reconstruction and post-Occupation cultural upheaval.
Moriyama continued to experiment with the representative possibilities offered by the camera in his 1969 Accident series, which was serialized over one year in the photo magazine Asahi Camera, in which he deployed his camera as a copying machine to reproduce existing media images. His 1972 photobook Farewell Photography, which was accompanied by an interview with his fellow Provoke photographer Takuma Nakahira, presents his radical effort to dismantle the medium.
Although the photobook is a favored format of presentation among Japanese photographers, Moriyama was particularly prolific: he has produced more than 150 photobooks since 1968.
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