This work reexamines the standard postcard view of Kiyomizu-dera. Multiple photographs of the temple, trees, and night lights are superimposed until no single exposure dominates. The timber platform and main hall are still identifiable, but they waver under pressure from drifting foliage, glare, and surface grain. Areas of overexposure and darkness compress separate moments into one frame, matching the way a repeated visit accumulates in memory. The composition avoids a central vanishing point; instead, the eye moves laterally across terraces, roofs, and branches, comparing zones of detail and erasure. Rather than documenting architecture or tourism, the piece focuses on how light, crowd movement, and seasonal color deform a famous site over time, turning it into a field of recollection. Texture drawn from the photographs themselves replaces painterly gesture, keeping the image grounded in observation even as it drifts toward abstraction, and positioning the work between city document and atmospheric landscape.