Interrogating self and other: Mutuality in the visual art of prewar Japan
PDF

Keywords

art
Japan
East Asia
Arishima Ikuma
Umehara Ryūzaburō
Tsuruta Gorō
gender
Japanese self
colonized

How to Cite

Hartley, B. “Interrogating Self and Other: Mutuality in the Visual Art of Prewar Japan”. Mutual Images Journal, Vol. 4, June 2018, pp. 76-02, doi:10.32926/2018.4.har.inter.

Abstract

In pre-war Japan, the visual artist often played a complicit role in the circulation of dominant imperialist and militarist discourses. Yokoyama Taikan (1868-1958) and Fujita Tsuguharu (1886-1968), for example, produced images extolling Yamato military might. This ‘might’ is evident both in the metonym of Yokoyama’s soaring Fuji-san images, often with rising sun ascendant, and in the more realist representation of Fujita’s Soviet tanks under assault at Nomonhan by ‘triumphant’ Japanese troops. Some pre-war and war-time visual art, however, resists being viewed as a conventional ‘hagiography of Japan.’ This, paradoxically, is especially the case in images depicting sites occupied by Japanese military and capital interests. These images, in fact, often reveal the highly tenuous nature of the discursively constructed border that divided the naichi Japanese self and the gaichi colonised other. Rather they convey a sense of mutual subjectivity in which the agency of the ‘other-ed’ subject insists on asserting itself. This presentation will provide a detailed examination of three pre-1945 works of visual art and consider how these uncover the mutuality inherent in old notions of self and other in pre-war Japan. The first is a 1937 image entitled ‘Kōnan no haru’ (Jiangnan Spring) by Arishima Ikuma (1882-1974), a scene from the rural environs of Shanghai featuring two young women in Chinese dress and an Imperial Army soldier mounted on a white horse. The second is a 1942 image entitled ‘Shimai heizazō’ (Sisters Sitting Side-by-Side), painted in Beijing by Umehara Ryūzaburō (1888-1986). The third is a 1944 work by Tsuruta Gorō (1890-1969) entitled ‘Shiganhei no wakare o tsugeru Taiwan no hitobito’ (People of Taiwan Farewelling the Volunteer Troops) which depicts indigenous people of Taiwan saluting as their countrymen depart for war. Each image confirms the precarious nature of Japanese discursive practice, revealing instead a mutual interplay that refuses dominance of one subject over the other.

https://doi.org/10.32926/2018.4.har.inter
PDF

Creative Commons License
Mutual Images Journal by Mutual Images Research Association is licensed under a Creative Commons Attribution 4.0 International License.

All images must have signed permission by the copyright owner on file with us in order to be included. This includes images to which you hold the copyright. Images that contain identifiable persons must have a statement of release signed by the person whose image will appear in your article. Authors are responsible for providing such authorisations if requested.