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The politics of painting : fascism and Japanese art during the Second World War Preview this item
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The politics of painting : fascism and Japanese art during the Second World War

Author: Asato Ikeda
Publisher: Honolulu : University of Hawaiʻi Press, [2018] ©2018
Edition/Format:   Print book : State or province government publication : EnglishView all editions and formats
Summary:
"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  Read more...
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Genre/Form: Art
History
Art and the war
Material Type: Government publication, State or province government publication
Document Type: Book
All Authors / Contributors: Asato Ikeda
ISBN: 9780824872120 0824872126
OCLC Number: 1004142218
Description: x, 132 pages, 20 unnumbered pages of color plates : illustrations (some color) ; 26 cm
Contents: Japanese paintings, fascism, and war --
Yokoyama Taikan's paintings of Mount Fuji --
Yasuda Yukihiko's Camp at Kisegawa and modern aesthetics --
Uemura Shōen's Bijin-ga --
Fujita Tsuguharu and Events in Akita (1937).
Other Titles: Fascism and Japanese art during the Second World War
Responsibility: Asato Ikeda.

Abstract:

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 -  Read more...

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In this incisive book, Asato Ikeda explores how famous paintings created between 1937 and 1945 functioned to support the fascist argument that Japanese society was perfectly represented by the Read more...

 
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Asato Ikeda views the work of four prominent artists of the time--Yokoyama Taikan, Yasuda Yukihiko, Uemura Sh\u014Den, 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 Sh\u014Den 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. The Politics of Painting will be welcomed by those interested in modern Japanese art and visual culture, and war art and fascism. 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