The Chazen essays that came in for the final exam were on the whole quite wonderful, and I have asked a few students if they would be willing to share their work for the pleasure of all. These example essays have little in common with one another, and demonstrate the range of analytical work that answered the difficult questions of the assignment I thought quite successfully.
Here, then, is the first exemplary answer to the essay question, by Veronica Thao. Veronica builds on a thoughtful interpretation of the escalation of militant Japanese imperialism in the early decades of the previous century in her reading of one of the woodblock prints in the Chazen’s special exhibition this summer. Of course, this reading relies on deeper political knowledge than we asked of you for this essay, but as Veronica already knew the history she did well to exploit it.
Kawase Hasui’s 14.4x 9.5 color woodcut, Snow at Tsukijima, painted in 1930 utilizes weather to add character, creativity and distinctiveness to his painting; in doing so he not only adds a unique quality to his piece of art, but also successfully conveys a message by using a snow storm to represent Japan’s cultural code and it’s influence over the people as well as the prominence of Japan.
The blistering snow winds exemplify how Japan’s cultural code overpowers people and society. As the winds are pushing over the Japanese figure, he appears completely powerless; while the architectural structure behind him stands unaffected by the winds. Like the people of Japan; the powerless figure represents the unheard voices of society during a time when military involvement was the basis of Japanese cultural code. The implementation of bushido war codes essentially shaped Japanese society, enforcing one’s life dedication to its nation. The equivalence of power between the military and government, particularly the emperor’s rule, shaped Japanese society around the ideals of Japanese military dedication. The individual in the painting is not only enduring the storm; he is a model figure for those who weathered the hardships under the rule of military-biased nation.
Particularly during the 1930’s, as Japan played a more vital role in World War II, a man’s dedication to the defense of his nation became a priority of life. Therefore, Hasui’s inclusion of snowy weather plays a critical role in the communicating the deep historical content of a 1930’s Japan, and it’s authority over the people of Japan. Ultimately, this painting explores the complexities of Japanese culture, tradition and ideals, especially during times of war. The strong traditional Japanese architecture symbolizes the utter supremacy of Japan’s deeply rooted culture and its control over the common people.
While Hasui’s Snow at Tsukihijima successful captures the essence of Japanese culture during a critical juncture in Japan’s history, Ed Paschke fails to convey meaning and make a statement with his digitally rendered transparency and lenticular screened self-portrait clown, titled Red- Self Portrait. One’s self-portrait should give the viewer a chance to understand the individual; it provides the artist with an opportunity to show himself in depth. Additionally, clowns as an artistic subject should provide the artist with a variety of emotions to play with. The digital alterations and vibrant in use of color sets high expectations for the piece of artwork. However, there is no emotion beyond the color, and rather than adding to the artwork, the manner in which he uses the digital alterations takes away from the underlying message. Instead of giving viewers a chance to explore the craftsmanship of this self-portrait, only one side of the face is accessible for view. Even as one moves around to examine and understand the complexity of this artwork, there is no way to do so. Rather than featuring all sides and emotions of the clown, the subject seems to distance itself; unwilling to let others understand the emotion expressed through color and dimension.
Hasui’s elusive depiction of a raging snow storm in Snow at Tsukijima skillfully articulates on the Japan’s cultural code and its emphasis on military dedication as a means of honor to one’s nation. The historical significance and portrayal of Japan’s undying culture within this painting contributes to its regarded success. In contrast, Ed Paschke inability to truly portray himself within his Red-Self Portrait, beyond the vibrant colors and digital alterations affirms his failure to make a statement, as the art appears one-sided regardless of the physical dimensions and depth visible to the naked eye.
