January 17 — July 5, 2015Hours: 10:00 a.m. to 4:30 p.m. (January)10:00 a.m. to 5:00 p.m. (February and March)10:00 a.m. to 6:00 p.m. (April through July)(Last admission 30 minutes before closing.)

Closing days: Wednesdays

Admission: ¥800 (¥700) for adults, ¥400 (¥300) for highschool and university students; admission is free for juniorhigh school students and younger visitors.(Figures in parentheses are group admission fees for groupsof 20 or more.)　

Organizer: Izu Photo MuseumCuration: Izu Photo Museum, Helmut Völter

Fuji ParadigmsVisions of Mt. Fuji

PRESS RELEASE

Fuji Paradigms: Visions of Mt. Fuji

January 17 — July 5, 2015Place: Izu Photo Museum Organizer: Izu Photo Museum Curation: Izu Photo Museum, Helmut Völter Mt. Fuji, with its beautifully symmetrical ridge lines, has been an enthralling subject since the invention of the photographic process. In the course of being photographed, and those images used extensively, an almost infinite number of times, a certain form became paradigmatic. This exhibition consists of two parts: Part 1 explores the genealogy of images of Fuji, and Part 2 introduces the work of Abe Masanao (1891-1966), who is known as the “Professor of Clouds.” Abe, who was born into an aristocratic family, invested his own funds to establish the Abe Cloud and Air Current Research Laboratory, in Gotemba, Shizuoka, in 1927. From this fixed point he carried out over fifteen years of observation of the clouds over Mt. Fuji. Abe was as much a scientist as he was an inventor—not only did he effectively combine two—and three-dimensional cinematography and photography in a very innovative and unique way, he also constructed parts of his photographic and measurement equipment by himself. This exhibition will present images in which he captured the ever-changing forms of the clouds above Fuji using time-lapse photography and other valuable materials, in the second of the Izu Photo Museum’s series of exhibitions of photographs of Mt. Fuji.

1. Kimbei Kusakabe, Untitled (Woman with Parasol), 1880-1890s. Hand tinted albumen print.

2. Photographer unknown; Untitled (Rickshaw Overturning), 1880-1890s. Hand tinted albumen print.

3. Raimund von Stillfried, Untitled (Samurai), 1870-1880s. Hand tinted glass slide.

【Part 1: Images of Fuji】Part 1 introduces paradigmatic images of Fuji, organized in terms of several patterns, based mainly on the Izu Photo Museum collection.

[1] Mt. Fuji and TourismY o k o h a m a , J a p a n ’ s l a r g e s t p o r t o p e n t o i n t e r n a t i o n a l t r a d e f r o m t h e c l o s i n g

years of the Edo shogunate to Mei j i , was the birthplace of the industry known

as “Yokohama photography.” I t or iginated when Fel ice Beato, an I ta l ian-Br i t ish

photographer, opened a commercial photography studio in Yokohama and had the

idea of selling albums of photographs of landscapes and people in Japan to foreign

visitors there. The Japanese photographers who followed him expanded sales by

combing hand-tinted photographs with traditional Japanese craft objects, such as

maki-e lacquer album covers. Mt. Fuji , as the archetypical famous place in Japan,

was a core motif in Yokohama photography. The impact of Yokohama photographs,

w h i c h w e r e e x p o r t e d i n l a r g e n u m b e r s , w a s a r g u a b l y a m a j o r f a c t o r i n t h e

establishment of an image of Japan as consisting of “Fujiyama and geisha.” When

it became possible to print photographs, the shift to picture postcards spelled the

demise of the Yokohama photograph.

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[2] Mt. Fuji and Mountain ClimbingM t . F u j i w a s r e v e r e d f r o m a f a r a s a s a c r e d m o u n t a i n i n w h i c h a d e i t y a b i d e s a n d climbed as an act of worship. Particularly in the Edo period, confraternities of members of the Fuji devotional cult became extremely popular . They were so widespread that i t was said, “Edo is vast , with 808 neighborhoods. The confraternit ies are numerous, with 808 units . Edo has 80,000 direct retainers of the shogun and 80,000　 Fuj i cult members .” At the end of Edo Per iod and Mei j i Per iod, Fel ice Beato, Herbert George Ponting, and many other photographs made the cl imb, photographing the peak and other s ights. In the late nineteenth century and the twentieth century, stereographs w e r e a p o p u l a r w a y f o r p e o p l e i n E u r o p e a n d A m e r i c a t o e x p e r i e n c e t h r e e -dimensional views of scenes of exotic lands in the comfort of their homes. Mt. Fuji was photographed countless times for that purpose. Japan’s tallest peak became a popular destination for tourism and alpinism.

[3] The Mt. Fuji MarkThe first dream of the year is traditionally said to foretell what sort of year the dreamer wi l l have. The luckiest are dreams of Mt . Fuj i , hawks, and eggplants , in descending order. Mt. Fuji , the tallest mountain in Japan, with its ridge lines beautifully spreading out, is used as an auspicious symbol in many situations. Many photographers also used Mt. Fuji , an easi ly understood icon, as their studios’ trademark. Today, it is found on stamps, currency, and corporate logos.

[4] Mt. Fuji and ExpositionsThe f irst international exposit ion that Japan off icial ly participated in was the Vienna International Exposition of 1873, at which Yuichi Takahashi’s Great Fuji and Shibata Zeshin’s Lacquer Picture of Fuji and Tagonoura were shown. The haiku poet Masaoka Shiki wrote of the frequent appearances of Mt. Fuji at international exhibitions, “Taking the top prize when brought to expositions—the mountain that knows no bounds.” From Japan’s launch as a modern state, Mt. Fuji served as the national symbol on the international stage. The massive photomontage mural, Tourism Japan, with Fuji at its center, was created for the 1937 Paris Exposition and aroused considerable discussion. For the 1939 New York World’s Fair, Japan committed its national prestige to the display of Graceful Peak: Mt. Fuji, then the world’s largest photomontage mural, which was to communicate the excellence of Japanese technology and the beauty of Mt. Fuji. The poster for the Grand International Exposition of Japan, commemorating the 2600th anniversary of the foundation of the Japanese Empire, planned for 1940, used a modern design combining Fuji and a golden kite, said to have perched on the bow of Emperor Jimmu, Japan’s first emperor. With the Second Sino-Japanese War intensifying, Japan, which had successfully bid to hold both an international exposition and the Olympics in 1940, relinquished its right to host them, and the dream of holding those two major events simultaneously ended. Japan postponed holding the Olympics and international expositions until after the war.

[5] Mt. Fuji and PropagandaMt. Fuji has long been revered and worshiped as a sacred mountain. During the war, photographs of soldiers standing in front of Mt. Fuji , r is ing to its magnificent heights, w e r e o f t e n u s e d a s p r o p a g a n d a t o a r o u s e t h e w i l l t o f i g h t . T h e J a p a n e s e m i l i t a r y dr i l led on a maneuvering ground at the foot of the mountain, Susono, where many barracks were also built . Mt. Fuji was assigned the role of sacred mountain protecting “ J a p a n , l a n d o f t h e g o d s . ” A s t h e f i g h t i n g w o r s e n e d , m i l i t a r y u n i t s w e r e f o r m e d carrying the name “Fuji .

[6] Mt. Fuji and TransportationMt. Fuj i , s tanding a lone , over 3 ,000 meters h igh , i s v i s ib le f rom sea , which i s rare for major peaks. The strong impression foreigners arr iving in Japan by ship received f rom v iewing the mountain f rom the sea i s c lear in the f requency with which that e x p e r i e n c e i s m e n t i o n e d i n t h e i r t r a v e l d i a r i e s . I n 1 8 8 9 , t h e T o k a i d o r a i l w a y l i n e c o n n e c t i n g T o k y o a n d K o b e o p e n e d , a n d m a n y J a p a n e s e w e r e a b l e t o e x p e r i e n c e seeing the mountain through train windows. Late in World War I I , the peak of Mt. Fuji , emerging above the c louds , was a s ignpost for U.S . bombers f ly ing north f rom the Marianas, a “ l ighthouse in the sky.” When the formal surrender ceremony was held in Tokyo Bay on September 2 , 1945, Mt. Fuj i , unusual ly for that t ime of year , was ful ly visible. Photographs combining the All ied Fleet and Mt. Fuji become popular symbols of “Victory over Japan Day.”

Renjo Shimooka, Untitled (Master Gyokai Fukuda),c. 1869. Albumen print (carte de visite).

S u n r i s e o n a n O c e a n o f C l o u d S e e n f r o m J a p a n ’ s Sacred Volcano, photograph by Herbert G. Ponting, I l lustrated London News, June 8, 1907.

5. Japan World Exposition to Commemorate Year 2600 of the Imperial Reign, 1940. Postcard.

4. The Photographic Mural Gra-ceful Peak: Mt. Fuji, Rokuo-sha, February 1, 1939. Pamphlet.

6. Asahi Graph, combined December 30, 1942 and January 6, 1943 edition.

7. Photographer unknown, Untitled (B-29 and Mt. Fuji) , 1945. Gelatin silver print.

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【 P a r t 2 : M t . F u j i a n d A t m o s p h e r i c Science: Masanao Abe’s Research】Co-curator: Helmut Völter

P a r t 2 i n t r o d u c e s t h e w o r l d o f M a s a n a o A b e , k n o w n a s t h e “Professor of Clouds.” He carried out scientif ic research on how to use cinematography and photography to make the currents of air in the environs of Mt. Fuji visible and left the world a huge number of photographs, sketches, and topographic maps.

Masanao Abe, 1891-1966The eleventh-generat ion head of the Abe fami ly , lords of the former Fukuyama d o m a i n , M a s a n a o A b e b e c a m e f a s c i n a t e d b y m o v i e s a f t e r b e i n g t a k e n t o s e e moving pictures as a chi ld by his father , Masatake Abe. Whi le at Tokyo Imperial Univers i ty , Torahiko Terada’s advice to research c louds inspi red Abe to devote h i s l i f e t o r e s e a r c h . I n 1 9 2 7 , h e f o u n d e d a p r i v a t e o b s e r v a t o r y , t h e A b e C l o u d a n d A i r C u r r e n t R e s e a r c h L a b o r a t o r y , i n G o t e m b a , S h i z u o k a P r e f e c t u r e , w h e r e he carr ied out f ixed-point observation of the clouds on Mt. Fuj i . (The laboratory closed in 1945.) He not only purchased the most advanced equipment abroad but also created his own observation devices for his research on clouds. In 1947, he became the f irst research director of Japan’s Central Meteorological Observatory. In 1955, he opened the pr ivate Abe Kindergarten in Tokyo. His research made a contr ibut ion in expla ining the causes of the sudden mid-ai r d is integrat ion and crash of a Br i t ish BOAC Boeing 707 passenger a i rcraft near Mt . Fuj i in 1966. His publications include Distribution and Movement of Cloud around Mt. Fuji Studied t h r o u g h P h o t o g r a p h s ( 1 9 3 7 ) a n d T s u r u s h i g u m o (R o t o r C l o u d s , 1 9 6 9 ) . A t t h e closure of the Abe Cloud and Air Current Research Museum, some of his research materials and observation equipment were donated to the city of Gotemba.

Masanao Abe The Abe Cloud and Air Current Research Laboratory, ca. 1930.

Masanao Abe, record sheet with contact print and handwritten notes, 11:12 a.m. January 27, 1933.• A b e p r o d u c e d d e t a i l e d d a t a , s e a s o n b y s e a s o n , p r e p a r i n g record sheets that combined photographs and sketches.

Masanao Abe, Two assistants of Masanao Abe launching a pilot balloon, ca. 1932.• Such balloons were used to measure the wind speed in different heights.

8. Masanao Abe, film sequence (details), November and December, 1932.• Using t ime-lapse photography made it possible to observe the

continuous movements of the clouds. Abe had been fascinated by movies from childhood.

Film No.112 d

13 h 10 mNov. 12th, 1932

Film No.113 a

15 h 25 mNov. 24th, 1932

Film No.116 b

12 h 52 mDec. 13th, 1932

9. Masanao Abe, Cloud Photograph 120, 4:00 p.m., January 27, 1933. Stereo photograph made by combining images taken from point A and point B.

• T h e t w o o b s e r v a t i o n p o i n t s w e r e 5 0 0 m e t e r s a p a r t . T h e y w e r e l inked by telephone so that the shutter button would be pressed at the same moment in both locat ions . Looking at the resul t ing photographs with a special viewer gave a three-dimensional view of Mt. Fuji and the clouds.

C l o u d s a r e g u i d e s i n d i c a t i n g t h e s t a t e o f t h e a t m o s p h e r e , w h i c h i s

invis ible to our eyes. To speak in terms of the art of the conjurerer , the

clouds are the resulting “performance,” the atmospheric currents are the

source and mechanism.

I used a tent when shooting at f irst , but realized that I could not do what I

hoped to using that makeshift approach. Instead, I built a small laboratory

d e d i c a t e d t o p h o t o g r a p h i c o b s e r v a t i o n a t N i i h a s h i i n G o t e m b a , w i t h

s t e r e o g r a p h i c a n d m o v i e c a m e r a s , a n e m o m e t e r s a n d o t h e r e q u i p m e n t

permanently instal led there. I did not conduct observations at one place

but also often cl imbed to take photographs.

Why I did research incorporating cinematography? I was already attached

to movies. I t might be more appropriate to say that I was obsessed with

f i lm for decades rather than that I tackled researching clouds for decades.

To invest igate how cloud forms change as they move, i t i s advisable to

u s e a m e t h o d t o d e t e c t t h a t m o v e m e n t q u i c k l y . O r d i n a r i l y m o v i e s a r e

shot at s ix teen or twenty- four f rames per second, but wi th t ime- lapse

photography, the f i lm is quite slow, one frame every few seconds.

Quotations from Masanao Abe

(Rotor Clouds, 1969)

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|Contact|Izu Photo MuseumClematis no Oka 347-1, Higashino Nagaizumi-cho, Shizuoka Prefecture TEL. 055-989-8780 FAX. 055-989-8783 Curators:Kohara Musashi (kohara@clematis-no-oka.co.jp) Mori Yoko (mori-yoko@clematis-no-oka.co.jp) Public Relations:

Akihisa Suzuki (a-suzuki@clematis-no-oka.co.jp)

| Access |●By carFrom Tokyo: Exit the Tomei Expressway at the Susono Interchange, then proceed on R246 for 10 km, towards NumazuFrom Nagoya: Exit the Shin-Tomei Expressway at the Nagaizumi-Numazu Interchange or the Tomei Expressway at the Numazu Interchange, then proceed on the Izu-Junkan Expressway (a toll-free segment), turn right at the Nagaizumi Interchange, and proceed on R246 for 7 km●By trainTake the JR Tokaido Line to Mishima. A free shuttle bus is available at its North Entrance (bus stop 3). (The time required is about 25 minutes.)●Free Shuttle Bus ●

| About the museum |

Hours: 10:00 a.m. to 4:30 p.m. (January), 10:00 a.m. to 5:00 p.m. (February

and March), 10:00 a.m. to 6:00 p.m. (April through July)

(Last admission 30 minutes before closing.)

Closing days: Wednesdays

A d m i s s i o n : ¥ 8 0 0 ( ¥ 7 0 0 ) f o r a d u l t s , ¥ 4 0 0 ( ¥ 3 0 0 ) f o r h i g h s c h o o l a n d

university students; admission is free for junior high school students and

younger visitors.

(Figures in parentheses are group admission fees for groups of 20 or more.)

Clematis no Oka 347-1, Higashino, Nagaizumi-cho, Shizuoka Prefecture Tel. 055-989-8780 Fax. 055-989-8783 www. izuphoto-museum .jp

Related Events:

【Curators’ Talk】● Welcoming co-curator Helmut VölterJanuary 17, 2015 (Saturday), from 2:15 p.m. (about 60 minutes long)Free of charge; reservations not required. Participants must have an admission ticket to the museum valid for that day. Please gather in front of the museum reception counter.

● Curator’s TalkA curator wil l introduce the exhibits.F e b r u a r y 2 1 , M a r c h 2 1 , A p r i l 2 5 , M a y 2 3 , a n d J u n e 2 0 , 2 0 1 5 ( a l l Saturdays)The talks wil l begin at 2:15 p.m. on each date and last about half an

hour.

Free of charge; reservations not required. Participants must have an admission ticket to the museum valid for that day. Please gather in front of the museum reception counter.

【Workshop】●Making Stereographic PhotographsMarch 14, 2015 (Sunday), 2:15 – 4:00 p.m.For children and adultsMaximum participants: 15F e e : ¥ 1 , 0 0 0 ( T h o s e a c c o m p a n y i n g a p a r t i c i p a n t m u s t h a v e a n admission ticket to the museum valid for that day.)R e s e r v a t i o n s r e q u i r e d . P l e a s e r e s e r v e y o u r p l a c e b y t e l e p h o n i n g 055-989-8780.

" T h e M o v e m e n t o f C l o u d s a r o u n d M o u n t F u j i /Photographed and Filmed by Masanao Abe" Author: Helmut Völter340 × 240 mm, 224pagesLauguage: EnglishPrice: 50€ (scheduled)Publishing date: February, 2014 (scheduled)Published by Spector Books

"Visions of Fuji: An Incurable Malady of Modern Japan"Boook Design: Takuma Hayashi (Deco design)240 × 200 mm, 244pages, Hard coverBil ingual: Japanese/EnglishPublisher: Izu Photo Museum and NOHARADecember 30, 2011ISBN: 978-4-904257-10-4Price: 3600yen (before-tax price）

Publications:

10. Masanao Abe, Cloud Photograph 324, 4:23 p.m., March 22, 1934.

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【Images】

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I ZU PHOTO MUSEUM Clematis no Oka 347-1, Higashino, Nagaizumi-cho, Shizuoka Prefecture T EL. 055-989-8780Public Relations: Akihisa Suzuki

FAX： 055-989-8783 E-mail： a-suzuki@clematis-no-oka.co.jp

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Film No.112 d

13 h 10 mNov. 12th, 1932

Film No.113 a

15 h 25 mNov. 24th, 1932

Film No.116 b

12 h 52 mDec. 13th, 1932

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