冯文尉小楷缩临《九成宫》

荒木經惟Nobuyoshi Araki 1940年出生於東京府下谷區(今東京都台東區)三之輪。 攝影師,當代藝術家。 荒木經惟發表過許多以性愛為題材、驚世駭俗的裸露作品,其中包括他與妻子陽子的私生活,震驚了當時的攝影界與日本社會。現在,民眾愛稱他為「天才ARAKI」,歐美亦尊崇他為「Gran Maestro」(大巨匠),在國際間擁有相當高的評價。 主要經歷: 1963年自千葉大學工學院攝影印刷工學系畢業。同年,進入電通(廣告公司)。 1964年,以《阿幸》獲得第一屆太陽獎。 1971年,與電通同事青木陽子結婚。荒木將兩人蜜月旅行的點滴照片集結成攝影集《感傷之旅》,自費印刷了1000本出版,亦藉此提出他的「攝影家宣言」。 1972年離開電通,正式以攝影師為業。開始拍攝東京街景。 1988年,成立「Aat Room」事務所。 1990年,拍攝亡妻陽子的遺體,前衛的攝影概念撼動了當代攝影界。 2008年,荒木獲奧地利政府授予科學與藝術勳章。期間,他仍不間斷進行自2002年展開的「日本人的容顏」紀實攝影計畫,目標拍攝日本全國各地的民眾肖像。 曾舉辦大小攝影展無數,包括: 「Tokyo Comedy」.維也納分離派會館/ 1997 「多愁寫真、人生」.東京都現代美術館/ 1999 「森山.新宿.荒木」.Tokyo Opera City Art Gallery / 2005.01 「私.生.死(Self, Life, Death)」.倫敦巴比肯藝術中心/ 2005.10 「荒木經惟東京人生」.江戶東京博物館/ 2006 出版物超過350本。主要作品: 《阿幸》 《多愁之旅.冬之旅》 《我心愛的奇洛(Chiro, My Love)》 《天才ARAKI之擦亮眼》 《情色羅馬.黑白羅馬(Eroma, Monochroma)》 《空(ku)》 《東京愛情》 《ARAKI》 《ARAKI: Self, Life, Death》 PURPLE FASHION 杂志ISSUE 10 荒木大爷专访(转载) 你可能知道荒木经惟是举世闻名的日本情色摄影大师,但也许你不会想到,他举办地下展览,很便宜地卖波拉片,每天晚上都去他的最爱——东京某酒吧去消遣。可以肯定的是:他依然保持着如1971年他拍摄《伤感之旅》时候的状态,或者可以说,他的激情不减当年。 采访:奥林匹亚勒—坦(OLYMPIA LE-TAN) 受访:荒木经惟(NOBUYOSHI ARAKI) OLYMPIA LE-TAN ——这是什么地方啊? NOBUYOSHI ARAKI ——我自己的酒吧。我基本上每晚都来这里。我建议我们在这见面是因为我觉得这里比较安静。我最喜欢的卡拉OK吧就在楼上。那里我也经常去,那儿简直就是我的第二个家了。一会我带你过去看看,希望到时候你能唱首歌哦。 OLYMPIA LE-TAN ——我很期待。你也要唱吗? NOBUYOSHI ARAKI ——哦,不。我从来不唱歌,我只是喜欢看别人唱。 OLYMPIA LE-TAN ——能对我说说你的家庭么?你在哪儿长大的? NOBUYOSHI ARAKI ——东京,我在这里出生,也在这里长大。战争年代,我们家非常穷,我有8个兄弟姐妹。 OLYMPIA LE-TAN ——你属于那种丑小鸭类型的么?(丑小鸭类型——年幼时默默无闻,长大以后才貌出众)你的家人会认为你是一个艺术家么? NOBUYOSHI ARAKI ——天才!她们当然都知道我是一个天才了!我们家的人都支持我,崇拜我。尤其是我父亲——他照顾我养育我。我母亲很尊重我,但是她对我的其他的兄弟姐妹投入更多一些。所以,我的父亲和我之间的关系有一点特殊。 OLYMPIA LE-TAN ——关于你的父亲,我能问一个冒昧的问题吗?他是否和你一样对性有同样的崇拜和迷恋?或者说你的这种特质是否源自于你的父亲呢? NOBUYOSHI ARAKI ——嗯,他从不提及那种事情的。他是一个比较严肃的人。他穿一种比较简洁素色的和服,那种经典海军蓝色,但是和服里边的衣服是那种绣有龙形图案的华丽的衣服。他的这种装束让我理解为一种强烈的感情的掩饰。我就不同了。我不害羞,我展示我自己。 OLYMPIA LE-TAN ——你和他聊过这件事吗? NOBUYOSHI ARAKI ——啊,我们彼此很像,简直像双胞胎。我们的交流往往不用言语。我从未跟他聊过这种事,但是我想象你也不会个你父亲聊这种事吧。 OLYMPIA LE-TAN ——是你父亲引导你走进艺术殿堂的吗? NOBUYOSHI ARAKI ——他给我过很多启发。当然其他的一些艺术家也给过我启发——比如毕加索和沃霍尔。但是我最初的和主要的灵感都来自于我父亲。 OLYMPIA LE-TAN ——我们能谈谈您的童年么? NOBUYOSHI ARAKI ——哦,要说我小的时候,我父亲教会我每样事。我们家非常穷。当我还是个小男孩的时候,滚轴溜冰刚刚被发明。所有的小伙伴都有旱冰鞋,但是我没有,因为我们家太穷了买不起。我父亲在一家很小的鞋店上班,卖传统类型的日本鞋。有一天他为我制做了一双旱冰鞋,取材于一双旧鞋,然后他找了一种圆形的东西做成轮子。你看他有多么爱我。我永远忘不了这件事。 OLYMPIA LE-TAN ——你还记得你拍摄第一张照片时候的事么? NOBUYOSHI ARAKI ——学校组织去京都旅游。我们班有一个女生我很喜欢,但是我真的不敢面对面跟她讲话。而给她拍张照片对我来说就比较容易了。 OLYMPIA LE-TAN ——一副人体作品吗? NOBUYOSHI ARAKI ——不!不是那样的。就是她站在一个小桥上。你看,这么多年以来,我的主题从未改变过。我仍然在拍摄女孩们和风景。 OLYMPIA LE-TAN ——然后呢?这张照片现在在博物馆吗?还是在你的私人收藏中? NOBUYOSHI ARAKI ——照片被我弄丢了。但是它永远在我的记忆中。 OLYMPIA LE-TAN ——我们现在能谈谈性吗?我一直好奇你是否和你拍过的每一个模特都发生过性关系吗? NOBUYOSHI ARAKI ——喔,很遗憾,这个比例在下降。但是如果是以前,我们每次都做的,对的。同时,我拍摄姑娘的数量也没那么多了。如果退回到过去,在我装胶卷的功夫我都会和模特应付一下的。 OLYMPIA LE-TAN ——那真令人向往。那这一切是如何实现的?你在大街上遇到一个性感的姑娘,然后你对她说“嘿,我是一个摄影师。我愿意为你拍摄人体照片”,然后她们就会对你投怀送抱吗? NOBUYOSHI ARAKI ——这件事其实相当灵活的。有时候我会在之前拍摄,有时是完事之后拍摄。但是通常来讲我更在意是否拍到一张好照片,而不太在意是否是一次良好的性爱。照片永远是第一位的。这就是为什么我不太擅长勾搭外国姑娘。既然我遇到你了,我就得学说法语。 OLYMPIA LE-TAN ——你说到这就很有趣了。我正想问你有关你的作品中为何几乎所有女性都是日本人呢。我怀疑也许你认为我们白种女性没有那么令你感到吸引。 NOBUYOSHI ARAKI ——不不不,我很喜欢白人姑娘。我喜欢所有的姑娘。仅仅是因为交流困难,才导致我的作品中全是亚洲女性。事实上,只是日本女性。事实上我认为,仅仅从性的角度考虑,欧美女性更性感一些。对我来说,她们更具有异国情调。但是能够和她们交谈这件事太重要了。 OLYMPIA LE-TAN ——所以相对一个女性的长相,你更看重她说什么话? NOBUYOSHI ARAKI ——呣,哦,我可没那么说哦,她们还得是相当性感的才行。我觉得那些神秘的女性非常色情。因为我不能同她们深度交流,所以欧美女性对我而言相当神秘。 OLYMPIA LE-TAN ——对你的作品比较熟识的人都知道,你很喜欢Kinbaku bondage(日式捆绑)。那到底意味着什么?你从美学角度欣赏?还是捆绑会让你兴奋? NOBUYOSHI ARAKI ——这是我的爱抚方式,就像前戏。当然,一旦你把她捆住了,她就跑不掉了。但是内心深处我更浪漫一些,我宁愿绑住她的心而不是绑住她的身体。Shibari(日式捆绑中的一种绳结艺术)是一种非常美的日本传统艺术。我有我自己的捆绑方式,我经常故意留个未绑的绳结,而不绑完它。我这么自由的发挥,而不是把它弄的完美,是为了让想象力有发挥的空间。这样做留下更多的自由。这也是一种我的签名。 OLYMPIA LE-TAN ——你还有其他类型的迷恋和癖好么?我听说东京有许多性主题酒吧或者“偶遇酒吧”,你去过 NOBUYOSHI ARAKI ——没有。我从未去过那类地方,我不感兴趣。我有一个女朋友,我们在一起已经好多年了。当然,我有时候会和一些其他的女孩子有暧昧关系,但是Kaori才是我的女朋友。她一会儿会过来,你就可以见到她了。我在她身上尝试了一种新的日式捆绑(Kinbaku)。基本上我只用一根绳子,就像这副照片中一样。那一刻我很享受。 OLYMPIA LE-TAN ——噢,我认识一些干过这种事的人,只是,这听起来真的有点吓人。她多大了? NOBUYOSHI ARAKI —— 29岁,快30了。她比我小38岁! OLYMPIA LE-TAN ——喔,你们的年龄差距比我爹和他女朋友的年龄差距还大。 NOBUYOSHI ARAKI ——这张照片里就是她。 OLYMPIA LE-TAN ——你真幸运,她那么美。她是你带去巴黎的那个女孩么?我在《Dirty Pretty Things》这本书的介绍中读到她在你们那次旅行之后在京都结婚了。是这样吗? NOBUYOSHI ARAKI ——哦,不。那是另外一个。我们后来分手了。 OLYMPIA LE-TAN ——在拍摄中过程中带有性的含义,你有不适当的勃起吗? NOBUYOSHI ARAKI ——绝对没有。为什么说勃起是不适当的?到那种时候了,我就会放下手中的相机,然后开始做爱。 OLYMPIA LE-TAN ——噢,所以你在“干”的过程中拍摄?我还真没注意到有这类照片哦。 NOBUYOSHI ARAKI ——嗯,等我找给你看。这张,这张,还有这张…… OLYMPIA LE-TAN ——哦,我明白你的观点了。所以我们不能真正地看到你。 NOBUYOSHI ARAKI ——这儿,还有这儿。拍照就像性和生命一样,生命和性是一回事。拍摄一张照片就像插入性器官,生命也是同样的道理。我对政治完全不感兴趣。我既不会是左翼也不会是右翼。我认为摄影更深刻,因为它就 是生命就是性。它不是政治,也不是社会:它始于生命本身。 OLYMPIA LE-TAN ——我注意到,死亡这一主题也经常出现在你的作品中。很多照片是在葬礼中拍摄的。 NOBUYOSHI ARAKI ——是的。关于死亡我思考过很多。我认为爱欲和死亡也分不开。死亡是相当色情的。当你想到你镜头前的女人有一天都会消逝——这就有了性的意味。并且死亡是一种至Hi状态的恍惚。当一个日本女人的高潮快要到来的时候,她会喊出“噢,我快死了!我要死了!” OLYMPIA LE-TAN ——你惧怕死亡吗? NOBUYOSHI ARAKI ——我当然不想死了。 OLYMPIA LE-TAN ——在你在葬礼上拍摄棺材的时候,会引起死者家人的反感吗? NOBUYOSHI ARAKI ——我总是会非常小心的。通常来讲,那些家属不会太介意。我会想象如果棺木里是我的妻子,她是我的……所以他们就不会介意了。 OLYMPIA LE-TAN ——你介意谈谈你死去的妻子——阳子吗?我理解这对你而言很难受,但是我看到所有书里都有她,有你和她,你们。这些照片那么美。 NOBUYOSHI ARAKI ——这对我来说真的太痛苦了。我能说的就是她是我妻子,我的爱人,也是我的母亲。关于她的每样细小的细节都是绝对的完美。我崇拜她。我不过是她面前的一个小孩子罢了。 OLYMPIA LE-TAN ——谢谢你!我们真心欢迎你更经常的到巴黎来访问。 NOBUYOSHI ARAKI ——在我第一次到巴黎的时候,巴黎就给我留下了深刻的印象。我有许多我和我妻子在巴黎的美好回忆。我不能准确的记起是在巴黎的什么地方,但是我记得我们牵手漫步,我们还遇见了一幅巨大的戈达尔的海报。去巴黎我没有一个人的时候。只有当我和一位美丽的女人一起去,或者我有机会在那认识美女的时候,我才会喜欢一座城市。 OLYMPIA LE-TAN ——你在巴黎遇到过很多美女吗? NOBUYOSHI ARAKI ——哦,她们都比较老![大笑] OLYMPIA LE-TAN ——你对老女人不感兴趣? NOBUYOSHI ARAKI ——不感兴趣,她们像巫婆![大笑] OLYMPIA LE-TAN ——你是那种大男子主义类型的日本男人吗? NOBUYOSHI ARAKI ——不,不……我非常尊重我身边的女性。 OLYMPIA LE-TAN ——我们来聊聊日本吧。看起来你的多数作品都是在你的祖国完成的。你愿意在日本以外的地方拍摄吗? NOBUYOSHI ARAKI ——我不太旅行。事实上,我的绝大多数作品都是只在日本完成的。我很少离开东京。当我去国外的时候,我只是一个游客。你看,如果我去巴黎,或者我去圣丹尼斯找到一位熟女,我可能会待得时间长点……那种情况下,我会多拍些照片。但是如果我只是作为游客,我不能在旅行的过程中仓促拍照的话,这会更像日记。我不会认为这就是艺术。在东京,我可以看到真实,美丽的事物,我不会被表象所迷惑。在这里,我知道如何拍摄伟大的照片,因为我用我的心理解这座城市。 OLYMPIA LE-TAN ——你最喜欢日本的哪些方面? NOBUYOSHI ARAKI ——人,我遇到的人。我不需要转移阵地,或是干其他的事情。在这里,永远有漂亮妞主动要求与我会面。东京就是一个人们来与我相会的地方。什么都可能发生。当一天结束的时候,东京就是一个中心有着一个巨大的洞的地方,我称之为“皇家广场”。 OLYMPIA LE-TAN ——一个洞? NOBUYOSHI ARAKI ——对,一个洞:一个我们可以坠入的巨大的东西。 ========================================================= 翻译很仓促。如有谬误之处,还请不吝赐教。 此次翻译要感谢:老虎、五者、丽华、达叔、snig ========================================================= 原文 Everyone knows the Japanese master of eroticism, NOBUYOSHI ARAKI. But not everyone may realize that he shows in underground galleries, sells Polaroid pictures for little more than change,goes out every night to his favorite bar in Tokyo . One thing is sure: he remains as passionate as he was when he shot Sentimental Journey,in 1971,and is as good if not better. All photographs by NOBUYOSHI ARAKI Model KAORI Interview by OLYMPIA LE-TAN OLYMPIA LE-TAN —— what is this tiny place? NOBUYOSHI ARAKI —— My local bar. I come here almost every night. I thought we should meet here because it's quiet . My favorite karaoke bar is upstairs. I go there all the time; it's my second home. I'll take you up there later and hopefully you'll sing me a song. OLYMPIA LE-TAN —— I would love to. Will you sing too? NOBUYOSHI ARAKI —— Oh no. I never do. I only like to watch. OLYMPIA LE-TAN —— Could you tell me about your family? Where did you grow up? NOBUYOSHI ARAKI —— I was born and raised in Tokyo, during the war. We were quite poor. I had eight brothers and sisters. OLYMPIA LE-TAN —— Were you like the ugly duckling ? Or did your family understand that you were a artist? NOBUYOSHI ARAKI —— A genius! Of course they all knew I was a genius ! My family supported me and admired me .Especially my father -- he's the one who took care of me, who brought me up. My mother respected me very much, but she decided to concentrate more on my brothers and sisters. So my father and I had a very special relationship. OLYMPIA LE-TAN —— Can I ask you an indiscreet question about your father? Did he have the same fetishes as you?Did you learn about fetishes from him? NOBUYOSHI ARAKI —— Well, he never said anything about things like that. He was a very discreet man. He wore a simple and sober kimono , the classic navy-blue kind, but inside it would be covered with flamboyant embroideries of dragons . Which kind of made me think he was hiding feelings of great passion . I'm different . I'm not that shy ,I expose myself. OLYMPIA LE-TAN —— Did you ever discuss it with him? NOBUYOSHI ARAKI —— Well, we were very alike, almost like twins. We had a way of communicating without speaking. I never hid any of it from him, But I suppose it's not something you discuss with your father. OLYMPIA LE-TAN —— Did your father introduce you to art? NOBUYOSHI ARAKI —— He inspired me a lot. Of course I met other artists — and I discovered Picasso and Warhol. But my first and main inspiration was always my father. OLYMPIA LE-TAN —— Can we talk a little more about your childhood? NOBUYOSHI ARAKI —— Well, as I was saying earlier, my father taught me everything. My family was very poor. When I was a little boy, They had just invented roller-skates. All the other kids had them but we were too poor to buy a pair. My father worked in a little shoe shop that sold traditional Japanese shoes. One day he made me my own pair of roller-skates from a pair of old shoes, using what round objects he could find as wheels. That's how much he loved me. I always really felt it. OLYMPIA LE-TAN —— Do you remember taking your first picture? NOBUYOSHI ARAKI —— I was on a school trip in Kyoto. There was a girl in my class that I had a crush on, but I had never really dared to speak to her. Taking a picture of her was easier for me. OLYMPIA LE-TAN —— A nude picture? NOBUYOSHI ARAKI —— No. Not then. She was on a little bridge. You see, in all these years my themes haven't changed. I'm still taking picture of girls and landscapes. OLYMPIA LE-TAN —— What happened to this picture? Is it in a museum? Or is it in your private collection? NOBUYOSHI ARAKI —— I think I lost it. But it's definitely in my memory. OLYMPIA LE-TAN —— Could we talk about sex now? I'm curious to know if you've had sex with all your models. NOBUYOSHI ARAKI —— Well, sadly, the percentage is going down. But in the early days it was all of them, yes. But then again the number of girls that I take picture of has also diminished. Back in the old days I would be making out with the girl almost as soon as I had my film loaded. OLYMPIA LE-TAN —— That's charming. How would it happen? You'd meet a sexy girl in the street and say,"Hey, I'm a photographer. I would love to take nude pictures of you." And they would fall into your arms? NOBUYOSHI ARAKI —— It was rather flexible. Sometimes I'd take a picture before and sometimes I'd take a picture after. But generally I cared more about having a good picture than having a good fuck. The photo was always my priority. The most important thing is communication. Talking to the girl is primary. Which is why I'm not that good with foreign girls. But now that I've met you I'm going to have to learn to speak French. OLYMPIA LE-TAN —— It's funny you should say that. I was just about to ask you why almost all your subjects are Japanese. I was starting to think that maybe you don't find us white girl so attractive. NOBUYOSHI ARAKI —— No,no,no.I like white girls very much. I like all girls. It's only because of communication difficulties that there are only Asian girls in my work. Only Japanese girls, in fact. I actually think that, from a purely sexual point of view, occidental girls are much sexier.They're more exotic to me. But being able to talk to them is so important. OLYMPIA LE-TAN —— So you care more about what a woman has to say than the way she looks? NOBUYOSHI ARAKI —— Hmm. Well , I didn't exactly say that. They do still have to be pretty sexy. I also think mysterious women are very erotic. And because I can't really speak to them, occidental women are very mysterious to me. OLYMPIA LE-TAN —— Anyone who knows your work knows that you are obviously into Kinbaku bondage. What's that all about? Do you like the aesthetics of it, or does it just turn you on? NOBUYOSHI ARAKI —— It's my way of caressing. It's like foreplay. Also, once she's tied up, a girl can't runaway.But deep inside I am more of a romantic, and I would rather tie her heart up than tie her body up. Shibari [the art of tying knots] is a very aesthetic Japanese tradition. I have my own way of doing it where I leave it unfinished. I always leave an untied bit of rope. I voluntarily don't make it perfect, so as to let the mind wonder what's been going on. It leaves more freedom. It's kind of my signature. OLYMPIA LE-TAN —— Do you have any other fetishes? I've heard a lot about all these themed sex bars or "happening bars" in Tokyo. Do you ever go to them? NOBUYOSHI ARAKI —— No, I've never been to those places. I'm not interested. I have a regular girlfriend. We've been together for years. Well I do sometimes see other girls, but Kaori is my girlfriend. She's going to meet us a bit later. I've been trying out a new kind of Kinbaku on her. I basically strangle her with a rope, like in this picture. I'm enjoying that a lot at the moment. OLYMPIA LE-TAN —— Oh, yes I know people who've done that, but it sounds really scary. How old is she? NOBUYOSHI ARAKI —— Twenty-nine. Almost thirty. She's 38 years younger than I am! OLYMPIA LE-TAN —— Wow, that's an even bigger age difference than that between my father and his girlfriend. NOBUYOSHI ARAKI —— This is a picture of her. OLYMPIA LE-TAN —— You are a very lucky man. She's beautiful. Is she the girl you took on your trip to Paris? I read in the intro of Dirty Pretty Things that she got married in Kyoto after your trip. Is that right? NOBUYOSHI ARAKI —— Oh, no. That's another one. We broke up. OLYMPIA LE-TAN ——So, with all this sexiness during a shoot, have you ever had an inappropriate erection? NOBUYOSHI ARAKI —— Absolutely not. And why would it be inappropriate? If it happens, I just put my camera aside and start making love. OLYMPIA LE-TAN —— Oh, so you take pictures while you're "doing it"? I haven't really noticed any pictures of you in full action. NOBUYOSHI ARAKI —— Well, I'll show you a few. Right there, there, and there. OLYMPIA LE-TAN —— Oh. I see it's all from your point of view. So we can't really see you. NOBUYOSHI ARAKI —— There too,and there too. Taking a picture is an engagement with sex and life. Life is the same as sex.Taking a picture is like penetrating the origin of sex and, therefore of life. I'm not interested in politics at all. I'm neither lift nor right wing. I think photography is much more profound because it's life and sex. It's not politics, it's not the society: it's the beginning of life itself. OLYMPIA LE-TAN —— I've noticed that death is also something that widely represented in your work. A lot of pictures are taken at funerals. NOBUYOSHI ARAKI —— Yes. I think about death a lot. I think that Eros also involves death. Death is quite erotic. When you think about the fact that the subject in front of your lens will disappear someday — there's something very erotic about that. And death is the highest point of ecstasy. You know when a Japanese woman is about to come, she cries out "Oh, I'm dying!I'm dying!" OLYMPIA LE-TAN —— Are you afraid of death? NOBUYOSHI ARAKI —— I certainly don't want to die yet. OLYMPIA LE-TAN —— Are people ever offended when you take pictures of coffins at he funerals of their family members? NOBUYOSHI ARAKI —— I'm always very careful. But generally the families don't mind. In the case of my wife, she was mine. So it didn't bother anyone. OLYMPIA LE-TAN —— Do you mind if I ask you about your wife who died, Yoko? I understand if it's difficult, but I've seen all the books about her, about the both of you. These pictures are so beautiful. NOBUYOSHI ARAKI —— It's a bit too painful for me. All I can say is that she was my wife, my lover, and also my mother. Every little thing about her was absolutely perfect. I worshipped her. I was nothing but a child in front of her. OLYMPIA LE-TAN —— Thank you! We would love you to come to Paris more often. NOBUYOSHI ARAKI —— The first time I went to Paris I was really impressed. I have fantastic memories of being there with my wife. I don't exactly remember where we were but we were walking hand in hand and we came across a big Godard poster. It was a really beautiful moment. Everything seemed to fit perfectly into place. I've never been to Paris alone. I only like a city if a beautiful woman goes there with me or if I have the chance to meet a beautiful woman once I'm there. OLYMPIA LE-TAN —— Did you meet a lot of beautiful women in Paris? NOBUYOSHI ARAKI —— Well, they were all quite old! [laughs] OLYMPIA LE-TAN —— You're not interested in older women? NOBUYOSHI ARAKI —— No, they're like witches! [laughs] OLYMPIA LE-TAN —— Are you a macho Japanese man? NOBUYOSHI ARAKI ——No, no, … I'm very respectful with the women around me. OLYMPIA LE-TAN —— Let's talk about Japan. It seems like most of your work has been done in your home country. Do you like to shoot outside of Japan ? NOBUYOSHI ARAKI —— I don't travel much. Actually, most of my work is done only in Tokyo. I hardly ever leave Tokyo. When I go to foreign countries , I'm just a traveler. You see, if I go to Pairs and find a mistress in Saint Denis, I might stay longer … In that case, I would take more pictures. But when I'm just a tourist I can't take snap shots when I travel, but there are more like a diary. I don't consider it to be art. In Tokyo, I can see real things, beautiful things. I can see below the surface. I know how to take great pictures here because I know this town by my heart. OLYMPIA LE-TAN —— What do you like most about Japan? NOBUYOSHI ARAKI —— The people I meet. I don't need to move, or do anything. I always have pretty girls asking to meet me. Tokyo is a place where people come looking for me. Lots can happen. But at the end of the day, Tokyo is just a place with a big hole in the middle of it. I call it the "Royal Place". OLYMPIA LE-TAN —— A hole? NOBUYOSHI ARAKI —— Yes, a hole: a big thing that we can fall into. PURPLE FASHION : ISSUE 10 : FALL WINTER 2008/09 90 1 27 一九九零年一月二十七日,荒木经惟的妻子去世了。 在二十九阳子的葬礼上,荒木读了阳子曾经写下的一段文字: 在我和荒木认识四个夏天之后 我们在青馆结婚了 我穿着我母亲做的婚纱 他穿着他最好的衣服 温柔地说我愿意 在四个筋疲力尽的接待后 我乡下的奶奶 看到了裸体新娘的照片 气得在床上躺了两三天 我坐在子弹头车中直冒冷汗 接着我才冷静下来 我们在车上睡着了 十个小时才回到东京 通常我们会返回我们各自的家当从今天开始我们一起回家…… 那种感觉怪怪的 窗帘外面 夏季的云正在翻滚