하기와라 사쿠타로(萩原朔太郎)의 사진 체험과 예술사진의 시적 구현

초록

This article aims to reveal the true nature of the photographic experience that Sakutaro, a representative poet of modern Japan, took a special interest in, and to examine what aesthetic principles he attempted to implement in his poetry based on this experience. It is known that Sakutaro began taking photographs in his third year of middle school, which could be considered his literary starting point, and devoted his life to photography. Accordingly, this article, drawing on Sakutaro's writings on photography and printed photographs, seeks to illuminate the connections between his photographic experiences and the contemporary Japanese Geijutsu Shashin(Fine Art Photography) movement. Furthermore, it examines how his photographic methods shaped the aesthetic principles of his poetry. First, in terms of landscape photography, Sakutaro utilized the soft focus technique of Fine Art Photography to contrast the foreground, which represents reality, with the distant, which represents the ideal, thereby pursuing a nostalgia for the ideal. This led to his poetry, which, through themes of ‘melancholy’ and ‘wandering’, creates a nostalgia for a distant ideal that cannot be reached, yet inevitably leads to a constant search for it. Second, in terms of portrait photography, Sakutaro sought to express the inner psychology of subjects caught between the ideal and the real by showing them gazing into the distance or projecting an objectified self onto specific subjects. This aspect manifests in his poetry as a ‘shadow’—a self torn between the ideal and the real—and serves as a foundation for the creation of diverse self-images, such as ‘horse’ and ‘dog’. Therefore, this article is significant in that it reveals that Sakutaro's photographic experience served as an important foundation for his poetic activities, and that this was the basis for his unique aesthetic surrounding nostalgia and self.

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