KINEO KUWABARA

桑原甲子雄於1913年出生於東京市下谷區，是一位著名的攝影師和雜誌編輯，以其對東京的記錄而聞名。他的職業生涯始於一張用徠卡C相機拍攝的照片在一次比賽中獲得二等獎，此後他開始定期為攝影期刊供稿。 1940年，他前往滿洲拍攝軍事題材照片。戰後，他回到日本，擔任一位頗具影響力的編輯。桑原的作品在1960年代末獲得了廣泛的讚譽，使他成為歷史上最具批判性的街頭攝影師之一。荒木經惟在重振人們對桑原作品的興趣方面發揮了關鍵作用；1993年夏天，兩人在世田谷美術館舉辦了名為「我愛你，東京」的聯合展覽。本館收藏了大量桑原的個人物品和原作照片。

BORN IN TOKYO IN 1913, KINEAO KUWABARA WAS A RENOWNED PHOTOGRAPHER AND MAGAZINE EDITOR FAMOUS FOR HIS CHRONICLES OF TOKYO. HIS CAREER WAS SPARKED WHEN A PHOTOGRAPH TAKEN WITH A LEICA C WON SECOND PRIZE IN A COMPETITION, LEADING HIM TO CONTRIBUTE REGULARLY TO PHOTOGRAPHIC JOURNALS. IN 1940, HE TRAVELED TO MANCHURIA TO CAPTURE MILITARY IMAGERY. POST-WAR, HE RETURNED TO JAPAN AND SERVED AS AN INFLUENTIAL EDITOR. KUWABARA'S WORK GAINED SIGNIFICANT CRITICAL ACCLAIM IN THE LATE 1960S, ESTABLISHING HIM AS ONE OF THE MOST CRITICAL STREET PHOTOGRAPHERS IN HISTORY. NOBUYOSHI ARAKI PLAYED A PIVOTAL ROLE IN REVIVING INTEREST IN HIS LEGACY; THE TWO HELD A JOINT EXHIBITION TITLED "LOVE YOU TOKYO" AT THE SETAGAYA ART MUSEUM IN THE SUMMER OF 1993. OUR MUSEUM HOUSES A VAST COLLECTION OF KUWABARA’S PERSONAL ARTIFACTS AND ORIGINAL PHOTOGRAPHS.

1930 - お化け煙突

我們從大量收藏中展出這三張原稿，東京荒川區附近，遠方那四根巨大的煙囪是當時東京著名的地標「千住火力發電廠」的煙囪（日本常稱「お化け煙突」，意即妖怪煙囪。 拍攝於 1930年～1940 年之間。這段時間是桑原手持 Leica 相機在東京下町（平民區）創作最密集的黃金時期。

WE HAVE EXHIBITED THESE THREE ORIGINAL PRINTS FROM OUR EXTENSIVE COLLECTION. TAKEN NEAR ARAKAWA WARD IN TOKYO, THE FOUR MASSIVE CHIMNEYS IN THE DISTANCE ARE THOSE OF THE "SENJU THERMAL POWER STATION" (COMMONLY REFERRED TO IN JAPAN AS THE "OBAKE ENTOTSU," MEANING GHOST CHIMNEYS), A FAMOUS TOKYO LANDMARK AT THE TIME. THESE WERE SHOT BETWEEN 1930 AND 1940, A PERIOD THAT MARKED THE MOST INTENSE GOLDEN AGE OF KUWABARA'S CREATIVE WORK IN TOKYO'S SHITAMACHI (DOWNTOWN) REGION USING A HANDHELD LEICA CAMERA.

1930 - 他與愛貓

我們從他大量的私人物品中找到這張自拍照，是他與愛貓大約拍攝於1930-1940 年

WE FOUND THIS SELFIE AMONG A LARGE NUMBER OF HIS PERSONAL BELONGINGS. IT WAS TAKEN WITH HIS BELOVED CAT, APPROXIMATELY BETWEEN 1930 AND 1940.

1940 - カメラ・CAMERA・カメラ毎日

戴著眼鏡的中年男子正是桑原甲子雄本人。此時的他已經歷了戰前的街頭拍攝與滿洲國時期，正全身心投入日本攝影評論與雜誌出版的幕後工作。照片大約拍攝於約 1950 - 1960  年代。 二戰後轉任幕後，先後主編了《CAMERA》（カメラ）、《PRO-CAMERA》（プロフェッショナル・カメラ）以及《CAMERA MAl》（カメラ毎日）等戰後日本最頂尖的摄影雜誌。這個辦公室就是他審查稿件、與年輕攝影師交流、策劃專題的辦公室。

THE MIDDLE-AGED MAN WEARING GLASSES IS KINEA KUWABARA HIMSELF. AT THIS TIME, HAVING ALREADY EXPERIENCED PRE-WAR STREET PHOTOGRAPHY AND THE MANCHUKUO PERIOD, HE WAS DEVOTING HIMSELF ENTIRELY TO THE BEHIND-THE-SCENES WORK OF JAPANESE PHOTOGRAPHY CRITICISM AND MAGAZINE PUBLISHING. THE PHOTOGRAPH WAS TAKEN APPROXIMATELY IN THE 1960S. AFTER WORLD WAR II, HE TRANSITIONED TO BEHIND-THE-SCENES ROLES, SUCCESSIVELY SERVING AS THE CHIEF EDITOR FOR POST-WAR JAPAN'S TOP PHOTOGRAPHY MAGAZINES, INCLUDING "CAMERA," "PRO-CAMERA," AND "CAMERA MAINICHI." THIS OFFICE WAS WHERE HE REVIEWED MANUSCRIPTS, INTERACTED WITH YOUNG PHOTOGRAPHERS, AND PLANNED SPECIAL FEATURES.

1960 - 攝影師合照

畫面核心主角（左一）就是桑原甲子雄本人。 拍攝於大約 1960 年。當時桑原甲子雄正擔任重要攝影雜誌的總編輯，而站在他身旁的這三位年輕攝影師。桑原作為編輯與前輩，非常有遠見地大力提攜並引進他們的精神，打破了日本傳統紀實攝影的框架。

THE CENTRAL FIGURE OF THE IMAGE (FIRST ON THE LEFT) IS KINEA KUWABARA HIMSELF. TAKEN APPROXIMATELY IN 1970. AT THAT TIME, KUWABARA WAS SERVING AS THE CHIEF EDITOR OF A MAJOR PHOTOGRAPHY MAGAZINE, AND THE THREE YOUNG PHOTOGRAPHERS STANDING BESIDE HIM WERE BEING FEATURED. AS AN EDITOR AND SENIOR, KUWABARA HAD THE GREAT VISION TO STRONGLY SUPPORT AND INTRODUCE THEIR SPIRIT, SHATTERING THE FRAMEWORK OF TRADITIONAL JAPANESE DOCUMENTARY PHOTOGRAPHY.

1970 - TOKYO 1930'S 手稿

這正是他 1930 年代拍攝東京的原稿印樣與排版工作，這是原稿樣冊，上面是他手寫修正的內容，他將冰封多年的底片重新整理、編排成攝影集《TOKYO 1930'S》這份排版工作帶的製作時間是 1970 年代中期。 在這段時期，桑原甲子雄決定將他戰前用相機記錄下的舊東京影像集結成冊。這張圖展示的就是書籍內頁的打樣，上面有手寫的編號，以及為了書籍排版所做的裁切標記。

THIS IS PRECISELY THE ORIGINAL CONTACT SHEET AND LAYOUT WORK FROM HIS 1930S TOKYO PHOTOGRAPHY. THIS LAYOUT PROOF BOOK CONTAINS HIS HANDWRITTEN CORRECTIONS, MADE AS HE REORGANIZED AND ARRANGED HIS LONG-FROZEN NEGATIVES INTO THE PHOTOBOCK "TOKYO 1930'S." THE PRODUCTION DATE FOR THIS LAYOUT WORK DATES TO THE MID-1970S. DURING THIS PERIOD, KINEA KUWABARA DECIDED TO COMPILE THE IMAGES OF OLD TOKYO HE HAD CAPTURED WITH HIS CAMERA BEFORE THE WAR INTO A BOOK. THIS IMAGE SHOWS THE PROOFS OF THE BOOK'S INTERNAL PAGES, FEATURING HANDWRITTEN NUMBERING AND CROP MARKS MADE FOR THE BOOK'S LAYOUT DESIGN.

1993 - ラヴ・ユー・トーキョー 桑原甲子雄・荒木經惟 写真展 門票招待券

全新庫存整本的攝影展覽門票招待券，它記錄了桑原甲子雄攝影生涯晚期最溫馨、也最重要的一場跨世代雙人聯展「Love You, Tokyo 我愛東京 」雙人聯展（1993年）「ラヴ・ユー・トーキョー」桑原甲子雄・荒木經惟 写真展。 展覽日期於 1993 年 7 月 17 日（土）～ 9 月 5 日（日）。 展出地點 世田谷美術館（東京都世田谷區）。亦師亦友的兩代大師，這時的荒木經惟已經是名震國際的日本前衛攝影大師。在極具叛逆性格的荒木心中，桑原甲子雄是他極少數公開表達由衷敬重、並視為精神導師與伯樂的攝影前輩。 

A BRAND NEW, UNUSED COMPLIMENTARY TICKET BOOKLET FOR A PHOTOGRAPHY EXHIBITION. IT RECORDS A CROSS-GENERATION JOINT EXHIBITION THAT WAS THE MOST HEARTWARMING AND SIGNIFICANT EVENT IN THE LATER STAGE OF KINEA KUWABARA'S PHOTOGRAPHY CAREER: "LOVE YOU, TOKYO" (ラヴ・ユー・トーキョー) KINEA KUWABARA AND NOBUYOSHI ARAKI PHOTOGRAPHY EXHIBITION (1993). THE EXHIBITION TOOK PLACE FROM JULY 17 (SATURDAY) TO SEPTEMBER 5 (SUNDAY), 1993, AT THE SETAGAYA ART MUSEUM (SETAGAYA WARD, TOKYO). THE TWO MASTERS FROM DIFFERENT GENERATIONS WERE BOTH MENTORS AND FRIENDS; BY THIS TIME, NOBUYOSHI ARAKI WAS ALREADY AN INTERNATIONALLY RENOWNED JAPANESE AVANT-GARDE PHOTOGRAPHER. DESPITE HIS REBELLIOUS NATURE, ARAKI SINCERELY RESPECTED KINEA KUWABARA, VIEWING HIM AS A SPIRITUAL MENTOR AND A TALENT SCOUT—ONE OF THE VERY FEW PHOTOGRAPHY SENIORS TO WHOM ARAKI PUBLICLY EXPRESSED SUCH DEEP RESPECT.

2001 - 桑原甲子雄写真展，徠卡與東京門票招待券

桑原甲子雄写真展，徠卡與東京。展覽日期  2001 年 6 月 19 日（火）～ 9 月 2 日（日）。 展出地點東京都寫真美術館 2階展示室圖二英文簡歷中，桑原本人手寫原子筆特別修正並加上去的日本攝影最高殿堂就是這裡。門票主視覺是他 1930 年代拍攝的東京街頭店鋪。門票右下角印著一台非常有歷史歲月感的黑色漆面巴納克徠卡相機。 在 2001 年舉辦這個大型回顧展時，桑原甲子雄已 88 歲。這場由國家級博物館（東京都寫真美術館）主辦的個人大展，是他在 2007 年以 93 歲高齡逝世前，日本官方與攝影界為他一生攝影生涯做出的終極加冕與歷史定位。 我們收藏的這兩本全新展覽門票是桑原本人私人收藏。

KINEA KUWABARA PHOTOGRAPHY EXHIBITION: LEICA AND TOKYO. EXHIBITION DATES: JUNE 19 (TUESDAY) TO SEPTEMBER 2 (SUNDAY), 2001. EXHIBITION VENUE: 2ND FLOOR EXHIBITION ROOM, TOKYO METROPOLITAN MUSEUM OF PHOTOGRAPHY. IN THE ENGLISH BIOGRAPHY SHOWN IN THE SECOND IMAGE, THIS VERY PLACE IS THE SUPREME PALACE OF JAPANESE PHOTOGRAPHY THAT KUWABARA HIMSELF SPECIALLY CORRECTED AND ADDED BY HAND IN BALLPOINT PEN. THE MAIN VISUAL OF THE TICKET FEATURES A TOKYO STREET SHOP HE CAPTURED IN THE 1930S. PRINTED ON THE BOTTOM RIGHT CORNER OF THE TICKET IS A BLACK PAINT BARNACK LEICA CAMERA CARRYING A PROFOUND SENSE OF HISTORICAL AGE. WHEN THIS LARGE-SCALE RETROSPECTIVE EXHIBITION WAS HELD IN 2001, KINEA KUWABARA WAS ALREADY 88 YEARS OLD. THIS SOLO EXHIBITION HOSTED BY A NATIONAL-LEVEL MUSEUM (TOKYO METROPOLITAN MUSEUM OF PHOTOGRAPHY) SERVED AS THE ULTIMATE CORONATION AND HISTORICAL RECOGNITION BESTOWED UPON HIS LIFELONG PHOTOGRAPHY CAREER BY THE JAPANESE GOVERNMENT AND PHOTOGRAPHY COMMUNITY BEFORE HE PASSED AWAY IN 2007 AT THE RIPE OLD AGE OF 93. THE TWO BRAND NEW EXHIBITION TICKETS IN OUR COLLECTION ARE FROM KUWABARA'S OWN PERSONAL COLLECTION.