{"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":"Naked Festival - Kyoto Journal - Kyotographie - Sharing Visions - The Heartwork of Kyoto Journal","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"Rn9fiHyErG\"><a href=\"https:\/\/kyotographie-2025.kyotojournal.org\/ja\/naked-festival\/\">\u88f8\u796d\u308a<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/kyotographie-2025.kyotojournal.org\/ja\/naked-festival\/embed\/#?secret=Rn9fiHyErG\" width=\"600\" height=\"338\" title=\"&#8220;Naked Festival&#8221; &#8212; Kyoto Journal - Kyotographie - Sharing Visions - The Heartwork of Kyoto Journal\" data-secret=\"Rn9fiHyErG\" 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\/03\/naked-festival.webp","thumbnail_width":1441,"thumbnail_height":1973,"description":"In the spring of 2000, film critic Donald Richie came to Kyoto to meet several KJ editors at a cozy teahouse in Maruyama Park. He implored us to do an article on his late friend, the photographer Tamotsu Yat\u014d, who had photographed Japan\u2019s hadaka matsuri (naked festivals) in the 1960s. Yat\u014d published two books\u2014Naked Festival (1968) and Otoko: Studies of the Young Japanese Male (1972), which he dedicated to Yukio Mishima\u2014before falling into obscurity. Richie had obtained Yat\u014d\u2019s negatives from a friend and kept some 2000 of them in boxes in a closet in his Tokyo apartment. Photographer Everett Kennedy Brown, who agreed to print some of the badly faded [&hellip;]"}