Sören Schuhmacher

淫穢藝術及攝影書籍拍賣（日本色情）

自画像

大山千加子
福笠放/1995/日语/210*260*20

《自画像》是日本摄影师大山千加子的作品集。在以男性摄影师凝视为主导的 nude 摄影成为常态的时期，大山是一位从女性拍摄女性的视角寻求自己独特表达形式的艺术家。整本书保持着统一的视角：拍摄对象并非被动的物体，而是具备意志、张力与存在感的主动身体。标题《自画像》不应被理解为传统意义上的自画像，而应被理解为一种“自我形象”，通过他者的身体来唤醒自身内在的幻想、欲望与形象。正如艺术家本人的解释，这本书探索通过人体能够表达的边界；在这里，裸体不仅仅是主体，更是想象的媒介。它传达的不仅是感性与舞台感，同时也提出关于身体主体性的质问，成为1990年代日本摄影中女性主导的身体表达的重要范例。虽为裸体摄影的合集，但本卷也被视为通过身体探索自我形象的实验。）

Self-Portrait

Chikako Oyama
Fugashobou/1995/japanese/210*260*20

“Self-Portrait” is a collection of works by Japanese photographer Chikako Oyama. At a time when nude photography dominated by the male gaze of male photographers was the norm, Oyama was an artist who sought her own unique form of expression from the perspective of a woman photographing women. Throughout this book, a consistent perspective is maintained: the subjects are not viewed as passive objects but as active bodies imbued with will, tension, and presence. The title “Self-Portrait” should not be understood as a self-portrait in the conventional sense, but rather as a “self-image” in the sense of bringing to life the fantasies, desires, and images within oneself through the bodies of others. As the artist herself explains, this book explores the limits of what can be expressed through the human body; here, the nude is treated not merely as a subject but as a medium for the imagination. It conveys not only sensuality and theatricality but also questions regarding the subjectivity of the body, making it a significant example of female-led bodily expression in 1990s Japanese photography. While a collection of nude photographs, this volume stands as an experiment in exploring the self-image through the body.

Chikako Oyama - Self-Portrait - 1995

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