Dutch photographer Jacqueline Hassink (born 1966) recently commenced working on a multipart series called View, Kyoto, in which she examines how the interior and exterior spaces of individual structures permeate and face one another. She took photographs of traditional Japanese gardens from within Kyoto's Buddhist temples, placing equal weight on the interior and exterior spaces. In two of the temples, she was allowed to move the sliding rice-paper screens, allowing her to create new, enormous spatial entities. The moss gardens of Saiho-ji and the cherry blossoms in Haradani-in constitute another part of the series. These scenes, which change with the seasons—Hassink calls them "living sculptures"—reflect Japanese aesthetics, which see arranged gardens as artificial likenesses of nature as well as representations of paradise.
Jacqueline Hassink, "Hosen-in 5, winter", 2011, is reproduced from Jacqueline Hassink: View, Kyoto.
FORMAT: Hbk, 9 x 11 in. / 204 pgs / 311 color. LIST PRICE: U.S. $95.00 LIST PRICE: CANADA $127.5 ISBN: 9783775739108 PUBLISHER: Hatje Cantz AVAILABLE: 3/24/2015 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of print AVAILABILITY: Not available TERRITORY: NA LA
Jacqueline Hassink: View, Kyoto On Japanese Gardens and Temples
Published by Hatje Cantz.
Dutch photographer Jacqueline Hassink (born 1966) recently commenced working on a multipart series called View, Kyoto, in which she examines how the interior and exterior spaces of individual structures permeate and face one another. She took photographs of traditional Japanese gardens from within Kyoto's Buddhist temples, placing equal weight on the interior and exterior spaces. In two of the temples, she was allowed to move the sliding rice-paper screens, allowing her to create new, enormous spatial entities. The moss gardens of Saiho-ji and the cherry blossoms in Haradani-in constitute another part of the series. These scenes, which change with the seasons—Hassink calls them "living sculptures"—reflect Japanese aesthetics, which see arranged gardens as artificial likenesses of nature as well as representations of paradise.
