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  1. Impressed by the traditional beauty and simple design of Kyoto’s temples, shrines and gardens, Masaki depicts the city as a place of spirituality, meditation and deep history. The book includes two texts in both Japanese and English, the first by Simon Baker, Curator of Photography and International Art, Tate, and the second by the artist ...

  2. Kyoto. A landscape meditation, incluye una serie de fotografías personales, reflexivas y profundamente sensibles de Kyoto. Impresionado por la belleza y el diseño simple de templos, santuarios y...

  3. Kyoto: A Landscape Meditation, Hiroshi Masaki’s second book, includes a series of personal, thoughtful, and deeply formal photographs of Kyoto. Im- pressed by the traditional beauty and simple design of Kyoto’s temples, shrines, and gardens, Masaki depicts the city as a place of spirituality, med- itation, and profound history.

  4. Impressed by the traditional beauty and simple design of Kyoto's temples, shrines and gardens, photographer Hiroshi Masaki (born 1949) depicts the city as a place of spirituality and history. This hardcover compiles his photographs of Kyoto along with an essay by curator Simon Baker and a text by the artist.

  5. Oct 31, 2012 · Uwajima is the first photobook by Japanese photographer and rare book dealer Hiroshi Masaki (born 1949). The black-and-white photographs in this collection were all taken between 2008 and 2010 in the artist's hometown of Uwajima.

  6. Oct 31, 2012 · Impressed by the traditional beauty and simple design of Kyoto's temples, shrines and gardens, photographer Hiroshi Masaki (born 1949) depicts the city as a place of spirituality and history. This hardcover compiles his photographs of Kyoto along with an essay by curator Simon Baker and a text by the artist.

  7. Impressed by the traditional beauty and simple design of Kyoto's temples, shrines and gardens, photographer Hiroshi Masaki (born 1949) depicts the city as a place of spirituality and history. This hardcover compiles his photographs of Kyoto along with an essay by curator Simon Baker and a text by the artist.