I haven't learned still-life painting, so it may be very silly to make a mockery of it just because I superficially like the colors and composition. But anyway, I started to learn something by trying it.

Instantly after studying it a little, I learned that it's not just a form of painting. It derived from religious painting around the 17th century and realistic paintings of commonplace objects became popular in Holland. I also learned that they symbolize empty fate of things that they decay and disappear in time whether they are natural (e.g. vegetables, fruits, fish, meat, flowers) or artificial (e.g. pottery, cooking utensils, furniture, musical instruments, books). At first, they were considered just as beautiful paintings based on visual realism, and they were ranked lower than religious and historical paintings because they "lack of deep contents." However, the genre of "still-life painting" was acknowledged as they established the notions of "expression of vanity" and "revelation." And finally, it was called "vanitas," meaning "vanity" in Latin.

As for the old still-life painting I have ever seen, I remember Juan Sanchez Cotan's (1560-1627) bodegones as well as Luis Edigio Melendez's works because I was deeply touched by the technique to describe in great detail, expression power, and stunning texture drawn by light and shadow. And, as for the modern ones, there're famous works by Chardin, Cezanne, van Gogh, Matisse, and Picasso.

Historically speaking, the main theme of still-life painting has been vanity of time. So, they look somewhat nihilistic. I wonder if they will pray for the God or the Buddha in the end. In Japan, they say, "all is vanity." It's interesting to know it's linked to the spirituality of still-life painting. The melody from this gramophone is unstable and weak, yet beautiful. And now, it sounds transient.

Although the word "still-life painting" has such hidden meanings, a Japanese dictionary defines it only as "painting of still objects such as flowers, fruits, and pottery, as opposed to portraits and landscape painting." So, it doesn't discuss the deep nuances. In English, on the other hand, they say "a still life." So, I feel still life objects are related to life and time.

Is this outdoor theme also "still-life"? The old bench and rusted scoop looked sentimental and the hart was mislaid for some reason. Even though tools are destined to disappear eventually.

The lights in front and on the mirror look as if they are talking to each other, but the glass containers stand still independent of the situation. If I speak in terms of still-life painting, the outside natural semi-permanent light appears annoyingly proud.

The dining room looks vibrant because of the flower decoration. Although the table isn't ready, it's waiting for the guests. The shining light will suddenly lose its power. And, when the candles are lit, the table will become lively with the feast, wines, laughing, and sounds of tableware. But, again, if I speak in the still-life-painting point of view, I should say this scene with the gorgeous flowers will disappear soon.

This is my first trial of still-life photography. I used what I had around me. If possible, I could include red and purple objects like apples and grapes to achieve a good balance of colors and shapes, but I didn't have them at that time. And, I shouldn't try collecting them because there is no end if I start doing it. Why cabbage? I have no idea. I just liked it. That's all.

I also shot at the house of my friend who is an antique collector. As I look at the bookshelf closely, I noticed the great variety of colors of the old book covers. I'm interested in the kinds and contents of the books as well as the colors, size, and design as subjects for photography. They are also good subjects for still-life painting because the knowledge acquired from the books will be gone eventually.

Putting the original notion of still-life painting aside, I found still-life photography interesting and challenging because it lets me enjoy choosing materials, colors, and compositions. And, once I become advanced, I should try to deepen the depiction using light and shadow. This genre is different from photography of people and landscape that I have taken. While I usually find stories out of the each moment I capture, in still-life photography, I should create a story first and actively set up the subjects and shoot (of course, in some cases I should be shooting things just as they are). They are so opposite, and I'm very much interested in still-life photography.