{"version":"1.0","provider_name":"Kyoto Journal - Kyotographie - Sharing Visions - The Heartwork of Kyoto Journal","provider_url":"https:\/\/kyotographie-2025.kyotojournal.org\/ja","author_name":"david-emrich","author_url":"https:\/\/kyotographie-2025.kyotojournal.org\/ja\/author\/david-emrich\/","title":"Interaction - Kyoto Journal - Kyotographie - Sharing Visions - The Heartwork of Kyoto Journal","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"EmrsXAr5DX\"><a href=\"https:\/\/kyotographie-2025.kyotojournal.org\/ja\/interaction\/\">Interaction<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/kyotographie-2025.kyotojournal.org\/ja\/interaction\/embed\/#?secret=EmrsXAr5DX\" width=\"600\" height=\"338\" title=\"&#8220;Interaction&#8221; &#8212; Kyoto Journal - Kyotographie - Sharing Visions - The Heartwork of Kyoto Journal\" data-secret=\"EmrsXAr5DX\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/kyotographie-2025.kyotojournal.org\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>","thumbnail_url":"https:\/\/kyotographie-2025.kyotojournal.org\/wp-content\/uploads\/2025\/04\/Interaction.webp","thumbnail_width":1595,"thumbnail_height":2000,"description":"Artist Yasu Suzuka was inspired by the hands of Buddhist monks in prayer. He felt that the image of the two hands pressed flat together expressed a person in his or her entirety and he began photographing the hands of monks, priests, friends, and students with an 8\u201dx10\u201d view camera. He found that no matter the differences in age, personality or gender, his subjects all manifested a similar serenity when they shut their eyes and brought their hands together in prayer. Suzuka called this series \u201cInteraction,\u201d as the form of the hands in prayer signifies the coming together of opposites\u2014left and right, body and spirit\u2014which in turn leads to balance [&hellip;]"}