{"id":131,"date":"2020-12-27T23:00:25","date_gmt":"2020-12-28T04:00:25","guid":{"rendered":"https:\/\/commons.princeton.edu\/art574-yixu\/?page_id=131"},"modified":"2021-01-22T14:25:10","modified_gmt":"2021-01-22T19:25:10","slug":"kawada-kikuji","status":"publish","type":"page","link":"https:\/\/commons.princeton.edu\/art574-yixu\/kawada-kikuji\/","title":{"rendered":"Kawada Kikuji \u5ddd\u7530\u559c\u4e45\u6cbb \u2013\u2013Resonant Pages and Unstable Narratives"},"content":{"rendered":"

This section presents three works from Kawada Kikuji\u2019s \u5ddd\u7530\u559c\u4e45\u6cbb (b. 1933) The Map<\/em> (Chizu<\/em> \u5730\u56f3) series that he worked on from 1959 through 1965.[1]<\/a> The series The Map<\/em> addresses the aftermath of World War II and was published as a photobook titled The Map<\/em> (Chizu<\/em> \u5730\u56f3) in 1965. The three photographs on display represent three major themes of Kawada\u2019s photobook The Map<\/em>: architectural ruins including the A-Bomb Dome in Hiroshima and desolate war fortifications, discarded objects including personal effects as wartime relics, and signs of postwar economic development and social conditions. This section focuses on the ways that the format of photobook facilitates the construction of multiple narratives and complicates the meaning of Kawada\u2019s photographs.<\/span><\/p>\n

A self-taught photographer, Kawada began his career as a staff photographer at the Shinch\u014dsha publishing house since 1955.[2]<\/a> Shortly after joining VIVO in 1959, Kawada quit the job to become a free-lance photographer. Kawada started photographing the series The Map<\/em> in 1959 and exhibited some of the works in journals and small exhibitions during the course of his development of the project.[3]<\/a> He continued to work on this project after VIVO disbanded in 1961 and eventually published the works in the format of a photobook on August 6, 1965\u2013\u2013the twentieth anniversary of the atomic bombing of Hiroshima.<\/span><\/p>\n