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Envisioning Fascist Space, Time, and Body: Japanese Painting During the Fifteen-Year War (1931-1945)

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Envisioning Fascist Space, Time, and Body: Japanese Painting During the Fifteen-Year War (1931-1945) ENVISIONING FASCIST SPACE, TIME, AND BODY: JAPANESE PAINTING DURING THE FIFTEEN-YEAR WAR (1931-1945) by Asato Ikeda B.A., The University of Victoria, 2006 M.A., Carleton University, 2008 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Art History, Visual Art and Theory) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) June, 2012 © Asato Ikeda, 2012 Abstract This dissertation investigates how fascist ideology—the modern political ideology that promotes spiritual collectivism—was translated into the Japanese context and was mediated through the visual culture. My study ultimately locates wartime Japan in the global politics and culture of the 1930s and the 1940s. The dissertation scrutinizes the development of both Japanese-style paintings (Nihon-ga) and Western-style paintings (yōga) in the wartime period, exploring how they manifest fascist imaginations of social space, historical time, and the human body. It considers the Japanese paintings in relation to ideas that have been identified as fascist. I examine works by such artists as Saeki Shunkō, Uemura Shōen, Miyamoto Saburō, and Fujita Tsuguharu, focusing on issues of social regimentation, new classicism, eugenics, and the mechanized human body. My study is not only an important contribution to scholarship on the art produced during the war—the period that was long considered “the dark valley”—but is also the first comprehensive study to investigate the question of Japanese fascism in the discipline of art history. Using cultural translation as a model of analysis and developing a nuanced vocabulary to describe wartime Japan within the framework of fascism, I challenge the notion that fascism was a phenomenon that existed only in Europe. ii Table of Contents Abstract ............................................................................................................................... ii Table of Contents ............................................................................................................... iii List of Figures .................................................................................................................... vi Acknowledgements ........................................................................................................... xii INTRODUCTION .............................................................................................................. 1 Introduction ............................................................................................................. 1 Historical Background ............................................................................................ 3 Literature Review/ Methodology .......................................................................... 17 Fascism ................................................................................................................. 25 Chapter Summary ................................................................................................. 49 CHAPTER ONE The Fascist Social Space of "Proper Place" and Japanese-style Machine-ist Paintings 1935-1940 ..................................................................................... 52 Introduction ........................................................................................................... 52 The Genealogy of Machine Aesthetics in Modern Japan ..................................... 61 The Fascist Society: Gleischschaltung, Gerarchia, and Proper Place .................. 70 Shifting Politics of Modernist Art in Wartime Japan ........................................... 80 The Japanese Machine-ist Paintings Revisited ..................................................... 87 Conclusion ............................................................................................................ 96 CHAPTER TWO Uemura Shōen's Bijin-ga, New Classicism, and Fascist Time ............ 99 Introduction ........................................................................................................... 99 Uemura Shōen ..................................................................................................... 101 Shōen and Edo .................................................................................................... 107 The New Classicism ........................................................................................... 115 iii New Classicism, Fascist Kitsch, and Death ........................................................ 133 Lady Kusunoki .................................................................................................... 138 The Role of Female Artist in Fascism ................................................................ 142 Conclusion .......................................................................................................... 145 CHAPTER THREE War Campaign Record Paintings ................................................... 147 Introduction ......................................................................................................... 147 Historical Background ........................................................................................ 148 War Campaign Record Painting and Nazi Germany .......................................... 155 War Campaign Record Painting and Photography ............................................. 160 Representations of Human Bodies in War Campaign Record Paintings ............ 164 Disembodiment of Individuals and Embodiment of Kokutai ............................. 169 Conclusion .......................................................................................................... 180 CHAPTER FOUR Representing the Fascist Body I: Scientific Racism and the Japanese Concept of Minzoku ........................................................................................................ 182 Introduction ......................................................................................................... 182 German Science and Eugenics in Japan .............................................................. 185 Wartime Japanese Eugenics ................................................................................ 189 Eugenic Photography .......................................................................................... 194 The Japanese Concept of Minzoku ...................................................................... 200 War Campaign Record Painting and Minzoku .................................................... 204 Conclusion .......................................................................................................... 211 CHAPTER FIVE Representing the Fascist Body II: Human Weapons and Japanese Traditional Aesthetics ..................................................................................................... 214 Introduction ......................................................................................................... 214 Kamikaze Special Attack Forces ........................................................................ 216 The Mechanized Human Body ........................................................................... 220 Eagles, Cherry Blossoms, the Sun, and Mt. Fuji ................................................ 231 Shinto, Buddhism, and Bushido: Reactionary Modernism ................................. 243 iv Conclusion .......................................................................................................... 250 CONCLUSION ............................................................................................................... 251 Bibliography ................................................................................................................... 261 Figures............................................................................................................................. 292 v List of Figures Figure 1-1. Saeki Shunkō, Tearoom, 1936 ..................................................................... 292 Figure 1-2. Kobori Tomoto, Abolition of the Han System, 1871 .................................... 292 Figure 1-3. Tsuchida Bakusen, Maiko in Landscape, 1924 ............................................ 293 Figure 1-4. Yamakawa Shūhō, Three Sisters, 1936 ........................................................ 293 Figure 1-5. Shibata Suiha, Biwa Concert, 1930s ............................................................ 294 Figure 1-6. Ōta Chōu, Women Observing the Stars, 1936 .............................................. 294 Figure 1-7. Kobayashi Kokei, Bath, 1921 ...................................................................... 295 Figure 1-8. Chair, from Machine Art Exhibition, 1934. ................................................. 295 Figure 1-9. Telescope, from Machine Art Exhibition, 1934 ........................................... 296 Figure 1-10. Laboratory Microscope, from Machine Art exhibition, 1934 .................... 296 Figure 1-11. Boiling Flasks, from Machine Art Exhibition, 1934. ................................. 297 Figure 1-12. Koga Harue, Sea, 1929 ............................................................................... 297 Figure 1-13. A diagram showing the structure of the Military Police ............................ 298 Figure 1-14. National Daily Product Exhibition, 1941 .................................................. 298 Figure 1-15. Asahi Graph, March 1936 ........................................................................
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