"When you've lived through those three deaths, you'll be a photographer"-3

die. 

"Sex and death are not two opposites, but death is included in sexual love. 

Therefore, it is necessary to 'die' anyway. 

Therefore, my photo must have the smell of 'death'. " 

"is Tokyo a huge graveyard? 

(those who live in this city) are we alive? " 

Judging from his photography life, Araki Jingwei's life seems to be very noisy, and he is a "photographer" with good "photography" and "color". 

However, if we take a closer look, we will find that the bones of his photography also reveal a sense of desolation. 

In his 1000-page book Araki (2002), which he calls the Tombstone of 60, he defines photography as "Sex and death" (erosandthanatos). 

As he said, "Sex and death are not two opposites, but death is included in sexual love." 

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Therefore, it is necessary to 'die' anyway. 

Therefore, my photo must have the smell of 'death'. " 

Although defining photography is a thankless thing, Araki's definition still captures the essence of photography and is very incisive. 

Although his universal attitude and vision seem to belittle everything in the world to the level of animal instinct, when everything is sex, in fact, everything finally has the possibility of transcendental fetters. 

Araki's photography shows us such a fact that life and death are closely intertwined. 

Behind his hedonistic attitude towards life are the great helplessness of life and a great fear of death. 

In the countless moments of the release of the camera shutter, he sought a temporary escape and anesthesia. 

Photography for him is a lifesaver, a lifebuoy. 

Some people say that Araki's unusual photography theme is "Trinity": vulva, metropolis, and death. 

And death is always associated with Yoko. 

Yoko Aoki, the most important woman in Araki, the woman who was branded with him and engraved into the history of art, left early. 

Death, the separation of yin and yang, however, Yangzi, overlooking in the sky. 

Araki does not look like such a long-loving person, perhaps because of death, let this woman occupy the deepest position in his heart. 

In 1972, Araki resigned from Dentsu to become a freelance photographer. 

He came alone and left with the most beautiful woman in the company, Yoko Aoki. 

Since then, all of Yoko's life has been printed on film by her husband, travel, body, and even death. 

Some are moving, others are cruel. 

Yoko became Araki's most vivid material and the most vivid model. 

What is recorded is not only a woman as his wife, but also their most real life and the most meticulous feelings. 

Araki's photographic debut, "sentimental Journey," truly recorded his honeymoon with Yoko in Kyoto, Nagasaki, and other places. 

There are not only the natural and cultural scenery wherever you go, but also the daily life of Yoko, and even the highly personal nudity and private life. 

This debut book, known as "Private Portrait", became Araki's photographic manifesto. 

In his preface, he wrote: "I feel something in the daily faint order of walking past." 

This became the original motive of his writing. 

For many years, Araki has been chattering: the picture of his wife is the best picture of him. 

He is shooting with his feeling of love, from the first movie we watch together to eating, falling in love, traveling, getting married, and living together, he has been shooting, not as a bystander, but as a follower. 

However, it is impossible to speculate on how Araki took the pictures of Yoko on the sickbed, holding hands and waiting for a coming end. 

He even photographed her brightly colored face after makeup, as well as funerals and rituals. 

He called the funeral a solo exhibition of "only one day, only one person". It was the funeral of the woman he loved most. 

For both the living and the dead, there is some cruelty, but Araki said that in the moment of grief, I recorded her face so that I would never forget her, but also to leave a deep memory for future generations. 

High-sounding and unassailable. 

Until Tokyo Riwa, a film based on their co-authored book brought their story back to public view. 

Naoko Tanaka plays Araki and Miho Nakayama plays Yoko. After the montage, the story is picturesque, more sentimental and aesthetic, but not tingling cruelty. 

But it seems to be at odds with Araki. Without being aggressive, I don't know whether it is that Araki or not. 

After all, the movie is a movie, and the real Yoko still stays on the rickety boat, resting on the straw mat with his notebook on his pillow, with nothing but ripples. 

On the other hand, the real Araki sometimes uses the image of being loyal to his wife to create a myth of romantic love, and sometimes he haunts his photos with the most obscene characters, appearing in his photo album, breaking his illusions. And attribute the craziest shooting experience to the love or love that happened during the shooting process. 

Yoko is the god in Araki's heart. 

He knew that she would look at him in the sky, and use her greatest and warmest motherhood to contain him and protect him, no matter how capricious he was and how paranoid he was.