| 摘要: | 在20世紀西方和日本，以當代觀念攝影而聞名的杉本博司，多年來亦同時涉獵不同角色，如古物家、建築師等，這些跨領域的身分，都加深了他對日本文化的探索、拓寬對攝影的思考，使他的攝影被評論為是融合東西方哲學的當代攝影。在以往的研究中多以單一文化觀點對杉本博司的攝影做討論，本論文試圖兼論日本與西方思想對他的影響及對在他攝影作品中的體現。亦延續哈蘇基金會對杉本博司的獲獎評論，把研究聚焦在他攝影中的多層次時間觀，探討他如何將時間的概念擴及至人類的記憶和歷史中，並對攝影史、攝影的本質進行再詮釋？也試圖援引攝影史外的劇場史、建築史、圖像脈絡，提供他攝影更多詮釋的可能。
本論文以杉本博司的時間哲思，與兩系列拍攝歷史空間的攝影作品為《劇場》以及《建築》系列出發，探究他對攝影的思考、對多層次時間觀的詮釋。第一章主要探討杉本博司攝影中技藝和風格的養成，及他在觀念攝影中對歷史和東西方文化思考的途徑。第二章專注於杉本博司的《劇場》系列，以此作品的復甦意象作為探究他多層次時間觀的切入，從中看他如何將日本泛神論宗教思想和日本文學、傳統能劇對時間的美學融入其中，及與劇場史、貝賀夫婦類型學攝影、19世紀馬雷的連續攝影作對話。此外再透過相隔40年創作的《廢棄劇場》系列，看杉本博司如何讓形上學的復甦概念落實到具體的拍攝上。第三章專注於杉本博司的《建築》系列，從他對經典現代主義建築的拍攝，看他如何把身為建築師角色的思考融入攝影中，透過失焦的建築影像探究出他對建築投以的目光，並探詢攝影史外圖像脈絡與記憶、歷史的連結。藉由對《劇場》以及《建築》系列的分析論述，彰顯出杉本博司攝影作品中所呈現的豐富時間、空間層次，及其以觀念藝術切入對建築攝影類型的再詮釋。
;Hiroshi Sugimoto was famous for his contemporary conceptual photography in the West and Japan in the 20th century. For many decades, he has also been a multi-disciplinary artist working as an antiquarian, architect, and so on. These roles deepen his exploration in Japanese culture, broaden his thoughts on photography and led to his photography being commented as contemporary photography which blends eastern and western philosophies. Many studies about Hiroshi Sugimoto discuss on the single cultural perspective. Therefore, this thesis attempts to discuss the influence of Japanese and western ideologies on Hiroshi Sugimoto and his photography. Also, extending from Hasselblad foundation’s award citation, this study focuses on the multilayered concept of time in his photography, and explores how he thinks of humankind’s memory and history, and how his photography reinterprets the meaning of photographic history, the origin of photography. Then I consider the history of theater, the history of architecture, and the context of iconology, to probe into other possibilities of interpretation.
This thesis begins with Sugimoto’s thoughts on time and two photographic series “Theaters” and “Architecture” which have the same subject of historical space. I explore Sugimoto’s thinking and the multilayered concept of time in his photography. In the first chapter, I discuss the formation of his photographic techniques and styles, and his way of thinking on eastern and western culture in conceptual photography. The second chapter focuses on his “Theaters series”, and his notion of photography as recovery. I examine how he blends the Japanese pantheism, Japanese literature, temporality of Noh theatre into his photography, and has dialogues with the history of theatre, Bernd and Hilla Becher’s typologies and Marey’s chronophotography of the 19th century. Then I study his "Abandoned Theater" series, which he created after 40 years, and discuss how he transforms the metaphysical concept of recovery to specific photographic process. The third chapter focusses on the “Architecture” series, starting from the theme of modern architecture, to see how he integrates his role as an architect into photography. I also explore his gaze through out-of-focus architectural images, and how he connects to his works with the contexts outside the photographic history, such as iconology, memory, and history. Through an analysis of “Theaters” and “Architecture” series, this thesis unveils abundant layers of time and space in Hiroshi Sugimoto’ s photography, and his reinterpretation of architecture photography by his conceptual photography. |
