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Investigating the Influence of Edo and Meiji Period Monster Art on Contemporary Japanese Visual Media

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Investigating the Influence of Edo and Meiji Period Monster Art on Contemporary Japanese Visual Media 1 Investigating the Influence of Edo and Meiji Period Monster Art on Contemporary Japanese Visual Media Zília Papp A thesis submitted to the University of New South Wales in fulfillment of the requirements for the degree of Doctor of Philosophy 2008 2 Acknowledgements I would like to thank my academic supervisors Doctor William Armour, Senior Lecturer, School of Languages and Linguistics, and Professor Julian MurpIIhet, School of English, Media, and Performing Arts at the University of New South Wales. I would like to thank the kind help and academic advice of my external advisory supervisor, Professor John Clark, CIHA, FAHA, Director of the Australian Centre for Asian Art and Archeology and Professor of Asian Art History at the Department of Art History and Film Studies, the University of Sydney. I am very grateful for the kind advice I received from Doctor Alan Cholodenko, Honorary Associate, Department of Art History and Film Studies, the University of Sydney. I am also very grateful for the advice and help I received from animation director and cultural historian Jankovics Marcell, DLA, Hungarian Academy of Fine Arts, Director of Pannonia Filmstudio 1996-2007. Additionally, I would like to convey my gratitude for the kind help of the curatorial staff at the Mizuki Shigeru Memorial Museum in Sakaiminato city, Tottori prefecture; the Fukuoka Asian Art Museum; of Doctor Kawanabe Kusumi, MD, D.Msc, Director of the Kawanabe Kyôsai Memorial Museum and Timothy Clark, Head of Japanese Section, Department of Asia, the British Museum. I would also like to convey my gratitude for the generous help I received from the filming crews of the 2005 film Yôkai Daisensô and 2007 film Gegegeno Kitaro. In particular, I would like to thank Yôkai Daisensô film producer Inoue Fumio, costume designer Chiyoda Keisuke and mask designer Dohi Yoshinari as well as Gegegeno Kitaro set designer Inagaki Hisao, mask and make-up designer Egawa Etsuko and costume designer Naito Kozue. I would like to thank the University of New South Wales for offering me the prestigious and highly competitive University International Postgraduate Award and Faculty Top-up Scholarships, as well as for the support I received to carry out research as an International Exchange Researcher at Waseda University, where I received the kind support and advice of Professor Sakai Shigekazu at the Graduate School of Global 3 Information and Telecommunication. All my heartfelt thanks to the beautiful city of Sydney, it was a privilege to work here and I hope there will be a chance for me to return in the future. 4 Table of Contents Acknowledgements...........................................................................................................................2 Table of Contents ..............................................................................................................................4 List of Illustrations............................................................................................................................8 List of Graphs .................................................................................................................................11 List of Tables...................................................................................................................................11 Chapter 1 Introduction ........................................................................................................................13 1.0 Overview ..........................................................................................................................13 1.1 Aims of the Study .............................................................................................................15 1.2 Hypotheses........................................................................................................................15 1.3 Theoretical Underpinnings of Study.................................................................................16 1.4 Limitations of the Study ...................................................................................................24 1.5 Scope of the Study............................................................................................................25 1.6 Glossary............................................................................................................................26 1.6.1 Glossary of Terms....................................................................................................26 1.6.2 Glossary of People...................................................................................................30 1.7 Organization of the Thesis................................................................................................33 Chapter 2 Methodology and Study Design .........................................................................................34 2.0 Overview ..........................................................................................................................34 2.1 Study Design.....................................................................................................................41 2.2 Case Study of Methodology: The Yôkai Ubume (姑獲鳥, Birthing Mother) ..................45 2.3 Summary...........................................................................................................................50 2.4 The Visual Evolution of the Yôkai Ubume in Illustration ................................................52 Chapter 3 Development of Yôkai Art in the Jomon to Shôwa Periods.............................................54 3.0 Overview ..........................................................................................................................54 3.1 Definitions of Yôkai.........................................................................................................54 3.2 Types of Yôkai..................................................................................................................62 3.2.1 Mountain Yôkai.......................................................................................................63 3.2.2 Water Yôkai .............................................................................................................66 3.2.3 Yôkai of the Village and the Home .........................................................................68 3.3 Overview of Yôkai Art .....................................................................................................69 3.4 Art and the Supernatural in the Jomon Period (縄文時代, ca. 13,000 – 300 BCE) .........74 3.4.1 Jomon Period Culture..............................................................................................74 3.4.2 Jomon Art................................................................................................................76 3.4.3 The One-eyed God...................................................................................................78 5 3.4.4 The End of the Jomon Period ..................................................................................81 3.5 Heian Period (平安時代, 794 CE – 1185 CE)..................................................................83 3.6 Muromachi Period (室町時代, 1333 CE – 1573 CE).......................................................90 3.7 Edo Period (江戸時代, 1603 CE – 1868 CE)...................................................................93 3.8 Meiji Period (明治時代, 1868 – 1912)...........................................................................105 3.8.1 Tsukioka Yoshitoshi (月岡芳年, 1839 – 1892) .....................................................105 3.8.2 The Meiji Restoration (1868) and Yôkai...............................................................107 3.8.3 Yanagita Kunio’s Minzoku Gaku ..........................................................................111 3.9 Yôkai in War Propaganda (1895-1945) ..........................................................................113 3.10 Summary.........................................................................................................................115 Chapter 4 Mizuki Shigeru and the Main Characters of Gegegeno Kitaro (ゲゲゲの鬼太郎).........120 4.0 Overview ........................................................................................................................120 4.1 The Life of Mizuki Shigeru (水木しげる, 1922-) .........................................................120 4.1.1 Early Years (1922-1941)........................................................................................122 4.1.2 War Years (1942-1945)..........................................................................................127 4.1.3 Post-war Years (1945-) ..........................................................................................131 4.2 Main Characters of Gegegeno Kitaro Animation and Manga Series..............................135 4.2.1 Overview ...............................................................................................................135 4.2.2 Medama Oyaji (目玉親父, Eyeball Father) ..........................................................137 4.2.3 Graveyard Kitaro, the Pseudo Folk Superhero ......................................................138 4.2.3.1 Birth in the Graveyard ...........................................................................................138 4.2.3.2 The Limping Hero.................................................................................................140 4.2.4 Nezumi Otoko (鼠男, Ratman)..............................................................................142
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