Fashizumu no Nihon bijutsu
Subtitle: Taikan, Yukihiko, Shōen, Tsuguharu
By: Ikeda Asato ; Taunson Machiko, Ikeda Asato yaku = The politics of painting : fascism and Japanese art during the Second World War / Asato Ikeda
Contributors: Taunson, Machiko, translator
Publisher: Seidosha
Published: 2020
Place of publication: Tōkyō
Language: jpn
Number of pages: 236
ISBN-13: 9784791772841
Subjects: Japanese Painting; Painting; History; Fascism and art; World War, 1939-1945; Art and the war
Other titles: Politics of painting :
Work titles: Politics of painting
Description: This book examines a set of paintings produced in Japan during the 1930s and early 1940s that have received little scholarly attention. Asato Ikeda views the work of four prominent artists of the time--Yokoyama Taikan, Yasuda Yukihiko, Uemura Shōen, and Fujita Tsuguharu--through the lens of fascism, showing how their seemingly straightforward paintings of Mount Fuji, samurai, beautiful women, and the countryside supported the war by reinforcing a state ideology that justified violence in the name of the country's cultural authenticity. She highlights the politics of "apolitical" art and challenges the postwar labeling of battle paintings--those depicting scenes of war and combat--as uniquely problematic. Yokoyama Taikan produced countless paintings of Mount Fuji as the embodiment of Japan's "national body" and spirituality, in contrast to the modern West's individualism and materialism. Yasuda Yukihiko located Japan in the Minamoto warriors of the medieval period, depicting them in the yamato-e style, which is defined as classically Japanese. Uemura Shōen sought to paint the quintessential Japanese woman, drawing on the Edo-period bijin-ga (beautiful women) genre while alluding to noh aesthetics and wartime gender expectations. For his subjects, Fujita Tsuguharu looked to the rural snow country, where, it was believed, authentic Japanese traditions could still be found. Although these artists employed different styles and favored different subjects, each maintained close ties with the state and presented what he considered to be the most representative and authentic portrayal of Japan. Throughout Ikeda takes into account the changing relationships between visual iconography/artistic style and its significance by carefully situating artworks within their specific historical and cultural moments. She reveals the global dimensions of wartime nationalist Japanese art and opens up the possibility of dialogue with scholarship on art produced in other countries around the same time, particularly Nazi Germany and Fascist Italy
Notes: Includes bibliographical references and index