​Mountain of the Dead and the Holy Island 

「葬る山、斎く島」

 

ホリ山を目指し、曲がりくねった薄暗い山道から海に出ると、岬には住民がハカショと呼ぶ墓地が静かに存在している。ハカショでは、海からの強い風がこちら側と結界を引くように異様な音を立て、来るものを立ち塞がせているようだ。ここは来てはいけない場所なのか。(2017年撮影ノートから)

 

韓国の済州島での撮影をきっかけに、古代から他国との様々な交流の要として存在した長崎県対馬の撮影をここ10年ほど続けている。撮影の傍で、「対馬国史」を書いた永留久恵氏の著書も研究しながら、今はなき歴史の跡地をフィルムカメラという暗箱とともに旅をしている。

 

対馬へ撮影に訪れると、真っ先に向かう村があった。そこは木坂という場所である。なぜそこに向かうのか。そこには、ある種の木坂の風景とカメラを通して呼応したいという私の直感があったからだ。

撮影を続けて幾年か経った後、木坂について永留氏の文献を読み直してみると、そこにはとても興味深いことが記されていた。木坂には、「イヅ山」と呼ばれる神々の世界の象徴である聖地の山、そして「ホリ山」と呼ばれる死後の冥土とされる山、そしてその両山に挟まれるように人々の生前の現し世が存在し、かつて木坂はこの三分観の世界で構成されていたと記されている。イヅとはイツクことであり、神を斎き(いつき)鎮める意で、ホリとは「葬り(はふり)」の意である。イヅ山もホリ山もどちらも勝手に入ってはならない「世界」である。ホリ山は葬地であり、ここに喪屋を営む風習もあったという。反対に木坂では産屋の風習もあり、産屋も人々の生活地からは距離を置く場所に存在したという。

 

人間が生まれ、生き、救済を求めてイヅ山の神々に願い、ホリ山に葬られるというこの「世界」が私をここまで木坂に向かわせた直感に紐付いていのか。

 

今年に入り、対馬へ撮影に行くことは叶わなかったが、改めて木坂の「世界」を思い出した時、聖地や葬地とこちら側との結界を張る一本の見えない線が、私の中で一本の円になり、その内側に刻々と過去になる今を生きる私がいるのだと思った。今回の作品では、そのような考えをもとに対馬や生月島などかつて様々な文化が交錯した日本の風景をプラチナプリントによって制作を行った。制作では、透過性のある雁皮紙にプラチナプリントを施し、箔や薄い和紙を貼り、何層もの層からプリントは制作された。また、今回の作品はパーツを4つに分けることで、それぞれのプリントに時差を作り最後に合わせて完成させることで、自分の中での複製可能な写真の定義を崩し、写真プリントに流れる時間軸に幅を持たせたかったからである。

 

2017年の撮影ノートに記された、ホリ山のハカショでの異様な感覚は、今回の作品全ての根底で流れている。

たくさんの風景が、今では見えない風景としてあるその残像が放つ僅かな光によってフィルムへ定着されるのを待っている、そう願って次の撮影の準備をしよう。

 

2020年11月 内田亜里

 

 

 

“Burying Mountain and Worshipping isle”

 

 

When heading for Mt. Hori and meeting the sea from a darksome winding mountainous path,you can see a grave site called “Hakasho” by residents lying peacefully on a cape. Hakasho appears to make strange noise and block whatever comes as if strong wind from the sea created a barrier between there and this side of the world. This might be the place you must not come to. (From 2017 photographing diary)

 

Starting from taking photos on Jeju Island in South Korea, I have continued to take photos on Tsushima Island in Nagasaki for about 10 years, which was used as crossroads of various exchanges with other countries from ancient times. While, besides taking photos, reading books by Mr. Hisae Nagatome, who writes “Tsushima Kokushi,” I have continued to visit now defunct historical sites taking a dark box called a film camera with me.

 

There is a village that I visit right away when I go to Tsushima Island, The place is called Kisaka. Why do I go there? The reason is that I have an intuition that I want to be in concert with some kind of scenery in Kisaka via my camera.

 

After several years passed while continuing taking photos, I read Mr. Nagatome’s books again, I found that something very interesting is described there.

It is described that in Kisaka, there are places as follows: a sanctuary mountain called “Mt. Izu,” which is a symbol of the world of gods, a mountain called “Mt. Hori,” which is deemed to be the afterworld, and where the deceased is to be buried after death, and  this world where people live, sandwiched by these two mountains, and accordingly, Kisaka used to be made of the world of this trisection. Izu means worshipping, that is, worshipping and appeasing gods, and Hori means “burying.” Mt. Izu and Mt. Hori are both areas (or  “worlds”) which you are not allowed to enter into without permission. Mt. Hori is a burying site, and there was also a custom of running mourning shops here. Nowadays, there is a grave site for residents on the cape, located one mountain away from any resident area. Meanwhile, it is said that there was also a custom of having delivery rooms in Kisaka, and such delivery rooms were also located away from any resident area. 

 

Humans pray to the gods of Mt. Izu for birth,life and salvation, and after death, they are buried in Mt. Hori; and this “world” exists as a perfect tale in the very small village, which must have been tied to my intuition that has had myself headed for Kisaka so far.

 

I have failed to visit Tsushima Island and take photos this year. Yet, when I recall the “world” of Kisaka, one invisible line which is a barrier between the sanctuary site or the burying site and this side of the world becomes one circle within me. I believe that I live within the circle each present moment that will become a past moment. Then,now that I cannot travel or move as much as I want, the space thereof also comes out with a stronger contour. Platinum print was used to create this work to reproduce Japanese scenes such as Tsushima Island and Ikitsukishima Island, where various cultures were intertwined in the past. In the creation of the work, platinum print is applied to transparent ganpishi or traditional Japanese paper made from the fiber of plant species Diplomorpha sikokiana,a foil or thin traditional Japanese paper is put on the platinum print, and the print is made of many layers. Furthermore, this work is completed by dividing it into four parts to set a time difference in printing by each part, and finally this work is completed by properly putting these parts together. I employed this technique because I wanted to give width to the time axis along which time goes by and depth by making layers, and distort the space a little.

 

The basis of this entire work is the strange feeling I had at Hakasho in Mt. Hori,which is written in the 2017 photographing diary.

I am waiting for scenes yet to be seen to be settled on films by faint light emitted by the afterimage of history existing as what cannot be seen now. I am hoping so and making preparations for next photographing.

 

 

                    

                                                                                                                                                                     By Ali Uchida in November 2020

©2021 by Ali Uchida & FOVEA INC.