{"id":4992,"date":"2023-12-16T15:01:06","date_gmt":"2023-12-16T20:01:06","guid":{"rendered":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/?p=4992"},"modified":"2023-12-16T15:01:06","modified_gmt":"2023-12-16T20:01:06","slug":"from-samurai-to-soldiers-tracking-art-of-the-militant-throughout-japanese-art-history","status":"publish","type":"post","link":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/essay\/from-samurai-to-soldiers-tracking-art-of-the-militant-throughout-japanese-art-history\/","title":{"rendered":"From Samurai to Soldiers: Tracking Art of the Militant Throughout Japanese Art History"},"content":{"rendered":"\n

Introduction<\/span>:<\/strong><\/p>\n\n\n\n

A nation\u2019s military has always been an incredibly significant facet of society. While the primary motivation behind this martial class is rooted in national security and defense, the status and artistic representations of the military is also commonly an indication of a nation\u2019s identity and political culture. This correlation is certainly present within Japan\u2019s military, especially as we consider the changing significance of the samurai. The goal of this article is to use chronological case studies to track representations of the military throughout Japanese art history in order to evaluate the contemporaneous Japanese political cultures. Through this evaluation, it is possible to recognize that art focusing on this social group is indicative of larger political attitudes, social hierarchies, and national identities. This study will also address the evolving military class as it relates to \u201cJapan-ness.\u201d The case studies utilized include examples from four distinct periods within Japanese art history. My evaluation will serve to interrogate the question: As Japanese artists attempt to redefine Japanese identity throughout time, is there an abandonment of historical conceptions of \u201cJapan-ness\u201d or do their values remain consistent?\u00a0<\/p>\n\n\n\n

Case Study #1: Kamakura Period Military Art During First Warrior Government<\/span><\/strong><\/p>\n\n\n\n

Japan had been ruled by an emperor since the 5th century. However, during the Heian Period (794-1185 CE), as the government began to grant private hereditary lands, or shoen<\/em>, and disband the military, it became clear that the established system was in jeopardy as they lost tax revenue and manpower. Soon, many private armies and military clans emerged in Japan, which led to the nationwide Genpei War between the two most powerful clans: Taira and Minamoto. With the Minamoto victorious, Minamoto Yoritomo established a new military government, the Kamakura Shogunate. This begins the Kamakura Period, and the seizure of power by the military class. In this new system, Yoritomo\u2019s bakufu<\/em>, or shogunate, took control of political and economic affairs; the emperor remained a figurehead that directed cultural and religious affairs. <\/p>\n\n\n\n

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Figure One<\/strong>: Unknown Artist, Heiji Monogatari Emaki (Sanjo Scroll) <\/em>or Illustrated Tale of the Heiji Civil War (Night Attack on the Sanjo Palace), <\/em>late 13th century, color and ink on paper, 699.7 m x 41.3 cm, Japanese, Museum of Fine Arts Boston. <\/p>\n\n\n\n

Image URL<\/strong>: https:\/\/commons.wikimedia.org\/wiki\/File:Heijhttps:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/f\/f6\/Heiji_Monogatari_Emaki_-_Sanjo_scroll_part_5_-_v2.jpg\/1024px-Heiji_Monogatari_Emaki_-_Sanjo_scroll_part_5_-_v2.jpgi_Monogatari_Emaki_-_Sanjo_scroll_part_5_-_v2.jpg<\/a> <\/p>\n\n\n\n

This image, titled Heiji Monogatari Emaki, <\/em>is a painted narrative handscroll (emakimono)<\/em> from the thirteenth century. The scroll is painted according to the contemporaneous Yamato-e<\/em> style, and depicts the fiery Heiji Rebellion between the Taira and Minamoto, a smaller skirmish leading up to the aforementioned Genpei War. Paintings during this time were some of the first artistic representations of the samurai, and they were intended to glorify the emerging group. The figures are highly stylized with abbreviated facial features. This quality gives the samurai a sense of unity, despite the limitations of this convention. Likewise, these samurai are distinct from the peasant militaries used by the Heian government. Both sides have expensive armor with aesthetic considerations, painted with a vivid color palette and clean lines, demonstrating their economic status and aspiring courtliness. Finally, the style of the painting as a narrative scroll glorifies the subject matter, giving it a propagandistic undertone as it demonstrates the strength and authority of the new ruling family. As demonstrated through this work, the Kamakura Period of Japanese art history is largely characterized by art of the militant. Thus, much of the artwork resulting from this time is indicative of the political, social, and economic power generated from this group. The samurai are shown as courtly, beautiful, and dignified. <\/p>\n\n\n\n

Case Study #2: Edo Period Military Art During Third Warrior Government<\/span><\/strong><\/p>\n\n\n\n

This case study focuses on samurai portraits from the Third Warrior Government during the Edo Period (1615-1868). The ruling military clan at this time, the Tokugawa Shogunate, exhibited incredible control over the Japanese population, even closing the country\u2019s borders for a period of time. Since the need for a military declined, samurai were forced into bureaucratic roles. Other samurai were forced to be employed by the lower class as the government began to centralize power, lower stipends, and drain the daimyos of their finances. <\/p>\n\n\n\n

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Figure Two<\/strong>: Buncho, The Actor Ichikawa Komazo II as a Samurai, <\/em>1768, color woodcut, 30.7 cm x 14.5 cm, Japanese, Fine Arts Museums of San Francisco, Carlotta Mabury Collection.<\/p>\n\n\n\n

Image URL<\/strong>: https:\/\/library.artstor.org\/#\/asset\/AMICO_SAN_FRANCISCO_103846128<\/a> <\/p>\n\n\n\n

Figure Three<\/strong>: Torri Kiyomasu II, Segawa Kikunojo in a Samurai Role, <\/em>circa 1735, hand-colored print, 12 3\/8 in x 5 15\/16 in, Japanese, The Minneapolis Institute of Art. <\/p>\n\n\n\n

Image URL<\/strong>: https:\/\/library.artstor.org\/#\/asset\/AMICO_MINIAPOLIS_103820969<\/a><\/p>\n\n\n\n

Figure Four<\/strong>: Katsukawa Shunko, Sawamura Sojuro III as a Samurai,<\/em> circa 1786, color woodblock print, 12 11\/16 in x 5 13\/16 in, Japanese, The Minneapolis Institute of Art. <\/p>\n\n\n\n

Image URL<\/strong>: https:\/\/library.artstor.org\/#\/asset\/AMICO_MINIAPOLIS_103820863<\/a><\/p>\n\n\n\n

The figures above belong to a genre of samurai portraiture prevalent during this time. The paintings are incredibly courtly in appearance. Each features a samurai positioned in an authoritative and individualistic manner. Each is depicted with emblems of their perceived status: colorful and sophisticated robes, two swords at the hip, and the traditional hairstyle known as the chonmage.<\/em> It is clear from the exaggerated and gaudy representations that the samurai were falling as a social class as the need for a military declined.  However, the samurai still clung to their influential status and their portraiture reflected this. <\/p>\n\n\n\n

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Figure Five<\/strong>: Felice Beato, Ronin (Masterless Samurai), <\/em>circa 1860, photography, Japanese, University of California, San Diego. <\/p>\n\n\n\n

Image URL<\/strong>: https:\/\/library.artstor.org\/#\/asset\/ARTSTOR_103_41822001211422<\/a><\/p>\n\n\n\n

Almost a century later, the samurai\u2019s decline is more evident. During the mid-1800s, imperial authority was being restored. Meiji rulers stripped samurai of all power; they were forced to give up their domains, they were heavily taxed to reduce their financial resources, and they were made to give up their weapons. Figure 7 shows the samurai\u2019s reduced position in Japan\u2019s social hierarchy. The photograph portrays a ronin, a former samurai without a master. A harsh departure from previous depictions, this figure is not lavished in robes. He is shown in muted rags, carrying his minimal belongings over his shoulder. The shift in tone demonstrates how the samurai were no longer a necessary facet of society, and ceased to be treated as such. <\/p>\n\n\n\n

Case Study #3: Military Depictions During 1950s Samurai Films<\/span><\/strong><\/p>\n\n\n\n

After the establishment of a parliamentary government, the samurai as subjects dwindled. However, during the 1950s, there was a huge cultural movement towards creating samurai films, featuring a critical retrospective on the samurai. These samurai films typically focused on the Sengoku and Tokugawa periods, between 1478 and 1868. The centering of these periods in film during this time indicates an interest in the samurai and a reevaluation of their iconic historic roles. <\/p>\n\n\n\n

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