This study explores the dynamic interrelationships between Japanese artists and the state during the Asia-Pacific War (1937-1945). In post-war art historiography, this period has been regarded as a `dark valley' where artists were subjected to total State control. Examination reveals that artists were not mere subordinates to the wartime State, rather there was dynamic interaction. This study challenges the current narrow understanding of the state of culture during the war by portraying artists as active participants in wartime cultural projects and illustrating how their activities shaped important aspects of the wartime cultural landscape. This dissertation is divided into four main sections. Chapter One illustrates Japanese cultural politics during the war and re-examines art policy in general. Chapter Two focuses on art exhibitions supervised by the Ministry of Education, and the consolidation process that took place among practicing artists. Chapter Three deals with one specific art project conducted by the military: the Campaign Record Painting Project. Finally, chapter Four discusses social role and practices of art during the war by focusing on three art projects specifically targeted at the dissemination of art to workers. In the concluding chapter, how wartime debates and projects influenced or were transmitted to the post-war development of art is touched upon. The Asia-Pacific War usually has been treated as a single period, separate from the `democratic' post-war period. This study not only explores the interactions between artists and state authorities, but also clearly demonstrates the significance of the wartime period in considering the post-war artistic climates, and challenges the `single period' treatment
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:542904 |
| Date | January 2005 |
| Creators | Kaneko, Maki |
| Publisher | University of East Anglia |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
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