Artist-Themes - Green Bee Study Guides

An Artist of the Floating World

Themes

Art and the Artist

The role of art has differing conceptualisations in the novel, in turn having implications for the artist. Artistic vision that seeks to create purely for aesthetics sake, focusing on visual beauty without illuminating any deeper meaning, is represented in Moriyama’s partiality for capturing the fleeting and temporary ‘floating world’, but which consequently leads the artist into the guilty pleasures of a decadent lifestyle. The production of large-scale commissioned, stereotypical pieces are seen in those produced at Takeda’s firm, which preferences commercial benefit over a commitment to technique, and which portrays it’s artists as production-line workers rather than as having any real artistic talent. Matsuda’s ideal that art should go beyond a representation of visual beauty to serve larger socio-political purposes shows how art can be reappropriated and manipulated by other agendas, and how in turn, the artist becomes publicly associated with the subject matter and responsible for its influence. That art serves no purpose other than to drive the artist into a life of self-absorption and depravity is presented through Ono’s father whose prediction that such a life will befall Ono ironically comes true for a time.

The novel further explores the dire consequences which befell artists whose art is viewed as divergent. Moriyama demanded strict adherence to his art principles, with students who departed from his style being expelled from his class, including Ono. Wartime artists whose work diverged from the Japanese Imperialism style had more serious repercussions, seen when Kuroda is interrogated and imprisoned. This raises larger questions about art, in terms of whether art should be politicised or serve only as a source of gratification. Arguably, the war would have continued despite Ono’s posters. Perhaps if Ono had retained the ‘narrow view’ of which Matsuda accused him, staying true to his aesthetic ideals throughout the war, he may have emerged postwar with an artistic legacy which would have brought him the personal satisfaction which so alludes him, and saved himself the personal conflict of having to continually reassess and justify the reasons for his wartime artwork.

Art and the Artist Quotes

Sometimes he will even ask me questions relating to technique or style with all the eagerness of a young apprentice – though the truth is, of course, Shintaro has long ceased to be concerned with any real art. For some years now, he has devoted his time to his book illustrations, and his present specialty, I gather, is fire engines. (Ono) Page 16

…And if on reaching the foot of the hill which climbs up to my house, you pause at the Bridge of Hesitation and look back towards the remains of our old pleasure district, … you may see the line of old telegraph poles … and be able to make out the dark clusters of birds perched uncomfortably on the tops of the poles, as though awaiting the wires along which they once lined the sky… (Ono) Page 22

‘The finest, most fragile beauty an artist can hope to capture drifts within those pleasure houses after dark … But as for those pictures up there, they don’t even hint at these transitory, illusory qualities.’ (Mori-san) Page 133

‘I suspect the reason I couldn’t celebrate the floating world was that I couldn’t bring myself to believe in its worth. …to spend one’s skills celebrating things so intangible and transient, I suppose I thought it all rather wasteful, all rather decadent. It’s hard to appreciate the beauty of a world when one doubts its very validity.’ (Mori-san) Page 133

‘When I am an old man, when I look back over my life and see I have devoted it to the task of capturing the unique beauty of that world. I believe I will be well satisfied and no man will make me believe I’ve wasted my time.’ It is possible …that Mori-san did not use those exact words …such phrases sound rather more like the sort of thing I myself would declare … (Ono) Page 133

‘But I’m no political agitator, Ono. My concern is with art. And with artists like you. Talented young artists, not yet irreversibly blinkered by that enclosed little world you all inhabit. The Okada-Shingen [Society] exists to help the likes of you open your eyes and produce work of genuine value for these difficult times.’ (Matsuda to Ono) Page 154

All he would have recognised is that it represented a blatant disregard for Mori-san’s priorities; abandoned had been the school’s collective endeavour to capture the fragile lantern light of the pleasure world; bold calligraphy and been introduced to complement the visual impact … (Ono, on the Tortoise’s appraisal of his ‘Complacency’ painting) Page 156

‘Sensei, it is my belief that in such troubled times as these, artists must learn to value something more tangible than those pleasurable things that disappear with the morning light. It is not necessary that artists always occupy a decadent and enclosed world. My conscience, Sensei, tells me I cannot remain forever an artist of the floating world.’ (Ono’s last conversation with Mori-san) Page 161

‘I had no idea,’ I said, ‘something like this would happen. I merely suggested to the committee someone come round and give Mr Kuroda a talking-to for his own good.’ I started again at the smouldering pile in the middle of the yard. ‘It was quite unnecessary to burn those. There were many fine works amongst them.’ (Ono and the police officer on the burning of Kuroda’s paintings) Page 164

‘Father painted some splendid pictures, and was no doubt most influential amongst other such painters. But Father’s work had hardly to do with these larger matters of which we are speaking. Father was simply a painter. He must stop believing he has done some great wrong.’ (Setsuko to Ono) Page 173

Memory, Reality and Distortion

The novel is a recollection of Ono’s life which is made confusing, due to Ono’s inability or unwillingness to provide an accurate account, and therefore difficult for the reader to fully accept. Instances where Ono’s reliability is questionable include him: frequently casting unreliability on his own recall, which alludes to how memories can function to replace the event being recalled; leaving recollections incomplete in their telling such as leaving his parents’ home, the early deaths of his wife and son, and withholding pertinent information about Kuroda until near the end of the novel but while being exhaustive with physical descriptions; and confusing the reader by providing contradictory information, mostly seen through conversations with his daughters, especially when he is convinced that Setsuko has suggested Ono take precautions to ensure investigations of Ono in relation to Noriko’s marriage negotiation are successful.

Ono addresses the reader as ‘you’ and brings the reader into his narrative in a friendly manner, apparently keen to manage his image upon the reader. He is eager to demonstrate that he is knowledgeable and well-respected, but modest, and in doing so assumes a sympathetic audience. The ‘you’ is not explicitly clarified to be the reader, therefore it is possible that ‘you’ is a construction of Ono’s imagination and that when Ono imagines what ‘you’ is thinking Ono is using a literary device in order to introduce selective information into his narrative to make a point or to segue into another topic.

At the end of the novel, Ono’s narration leaves the reader without a clear resolution as to the legacy he has spent the entire novel constructing. It may be that he was a lesser known artist who made little impact on his city, which would suggest that his constant struggle with his wartime guilt was a way for Ono to divert himself away from having to face the possibility that he was not the well-regarded artist he imagined. Or if he did possess the high wartime status, which he contends, then Setsuko may have downplayed the significance of his impact out of concern that Ono may attempt to take responsibility for his actions through suicide, as other war leaders had done. Being unable to rely undoubtedly on either possibility exemplifies how memories are constructed, and in particular, how memories can be modified over time or by later events, even distorted, either by design or as a coping mechanism, when the pain of having to face the reality head-on is too psychologically threatening.

Memory, Reality and Distortion Quotes

Even if it did not occupy such a commanding position on the hill, the house would still stand out from all others nearby, so that as you come up the path, you may find yourself wondering what sort of wealthy man owns it. (Ono about the house he bought, built by Akira Sugiruma) Page 2

Indeed, I have never at any point in my life been very aware of my own social standing, and even now, I am often surprised afresh when some event, or something someone may say, reminds me of the rather high esteem in which I am held. (Ono) Pages 13-14

Of course, he may well not have used that precise phrase, ‘exploring curious avenues’. For it occurs to me that expression was one I myself tended to use frequently in later years and it may well be that I am remembering my own words to Kuroda on that later occasion in that same pavilion. (Ono, referencing Mori-san) Page 159

Responsibility

The novel explores the role of responsibility during war. Predominantly this is explored through Ono’s struggle between the guilt he feels for his wartime career as a propaganda artist, and his reporting of Kuroda’s art to the authorities, and his ability to assume responsibility for the consequences. Ono attempts to minimise or explain away any personal liability through attributing his actions as having been made in ‘good faith’ and in line with the nation’s purposes at the time. However this summation does not sit well with Ono given the constant time he spends speculating on the real or imagined views of others on the topic and how these compare with his own, trying to arrive at a defence of himself with which he can live.

The manner in which wartime leaders dealt with their responsibility postwar, together with the next generation’s responses to that handling, is highlighted. Many wartime leaders committed suicide, which was viewed as honourable by the next generation, others lost their career or were forced into early retirement such as Ono, while the least honourable were those who kept their same positions after the war, presumably having downplayed their involvement to the American leadership who now occupied the country.

Responsibility for developing and being accountable to one’s own ideas and beliefs is also investigated. Though Ono contends that he is an independent thinker, evidence from his conversations with and musings about other characters suggests Ono has incorporated others’ perspectives into the forming of his ideas. When the nationalist Matsuda first introduces Ono to the social problems of his city Ono is inspired to give the proceeds of his artwork towards the cause but is then instead convinced to change his artistic direction altogether. Ono’s inability to remain true to what he believes and to be self-determining in his views is further example of his abdicating responsibility. Ono’s chastisement of Shintaro for the latter’s request that Ono confirm Shintaro’s disavowing of his wartime artwork so he can take a teacher job both contradicts Ono’s own similar request of Matsuda to provide a favourable report of Ono’s wartime work to the Saito family’s investigator as part of Noriko’s marriage negotiation and demonstrates that Ono is prepared to downplay his wartime association if required. While Ono candidly verbalises his acceptance of his responsibility at the dinner with his daughter, Noriko, and the Saito family, because of their bewildered reactions and the potential narrative that suggests Ono was embellishing his career for his own importance it is unclear if his stated acceptance was true or an appropriation of Matsuda’s view.

Democracy as a responsibility is introduced by the author through the lens of the younger generation. With the Allied occupation of Japan postwar, Japan went through a reconstruction in which the previous authoritarian system of quasi-absolute monarchy was replaced with a form of liberal democracy, thereby shifting supreme power from one individual and distributing it indirectly to the people through their elected representatives. Taro wisely points out that with all the rapid shifts towards the adoption of American practices, it is critical that the people be educated as to their rights and responsibilities within this new framework of government if it was to operate effectively for all the people.

Responsibility Quotes

‘On account of what he must have suffered out in Manchuria, I have in the past tried to adopt a tolerant attitude towards certain aspects of his behaviour; I have not taken personally, for instance, the frequent signs of bitterness he has displayed towards my generation.’ (Ono, about Suichi) Page 43

‘But these are the men who led the country astray, sir. Surely, it’s only right they should acknowledge their responsibility. It’s a cowardice that these men refuse to admit to their mistakes. And when those mistakes were made on behalf of the whole country, why then it must be the greatest cowardice of all.’ (Jiro Miyake, Noriko’s previous marriage suitor to Ono, on war criminals) Page 48

‘Those who sent the likes of Kenji out there to die these brave deaths, where are they today? …Many are more successful than before, behaving so well in front of the Americans, the very ones who led us to disaster. …This is what makes me angry. Brave young men die for stupid causes, and the real culprits are still with us. Afraid …to admit their responsibility.’ (Suichi to Ono, at Kenji’s funeral) Page 50-51

‘Being at Takeda’s’, I told them, ‘taught me an important lesson early in my life. That while it was right to look up to teachers, it was always important to question their authority. The Takeda experience taught me never to follow the crowd blindly, but to consider carefully the direction in which I was being pushed.’ (Ono to his pupils at the Migi-Hidari) Page 66

‘But, Ono, there are things we should both be proud of. Never mind what people today are all saying. Before long, a few more years, and the likes of us will be able to hold our heads high about what we tried to do. I simply hope I live as long as that.’ (Chishu Matsuda, to Ono about their role in the war) Page 85

‘Shintaro,’ I said, ‘why don’t you simply face up to the past? You gained much credit at the time for your poster campaign. Much credit and much praise. The world may now have a different opinion of your work, but there’s no need to lie about yourself.’ (Ono) Page 91

‘We all know now who the real traitors were. And many of them are still walking free.’ (Kuroda’s protégé Enchi to Ono) Page 101

‘Democracy is a fine thing, but it doesn’t mean citizens have a right to run riot whenever they disagree with something. In this respect, we Japanese have been shown to be like children. We’ve yet to learn how to handle the responsibility of democracy.’ (Taro to his father, at the miai) Page 107

… I must say I find it hard to understand how any man who values his self-respect would wish for long to avoid responsibility for his past deeds; it may not always be an easy thing, but there is certainly a satisfaction and dignity to be gained in coming to terms with the mistakes one has made in the course of one’s life. (Ono) Page 111

‘… after the war, Mr Naguchi thought his songs had been … a mistake. He thought of all the people who had been killed,… … he wanted to say sorry. I think that’s why he killed himself. He was brave to admit the mistakes he’d made. He was very brave and honourable.’ (Ono to Ichiro) Pages 137-138

Changing Values

Set after the Japanese surrender in WWII, the novel spans a time of great disturbance for the country which saw many changes including in tradition, the role of women, attitudes to the war and American occupation, and with that, the increasing adoption of Western culture.

Japan’s postwar decline in devotion to tradition is most evident to the reader through Ono’s relationships with grandson Ichiro. Ichiro’s captivation with American heroes, which is encouraged by his father Suichi, and his use of the English language learned from American films, puzzles Ono who would prefer him to take role models from Japanese folklore. Ichiro’s more permissive upbringing, seen in his boisterous behaviour that is only minimally kept in check and his being welcome at adult conversations, contrasts Ono’s traditional upbringing which was more restrictive and revering, seen through Ono only being allowed into his family’s reception room when he had reached age 12 and conversely, Ono’s permissiveness of desiring to give the alcoholic sake to an eight year old Ichiro, as he had done with his own late son, but which was no longer seen as acceptable by the next generation, seen in his daughter’s Setsuko’s refusal. The decline in the respect of elders is seen in Ichiro’s cheeky interactions with his grandfather, behaviour his mother describes as arrogant, and in the prevalence of the next generation, particularly men, who openly express their disappointment at the failings of the previous generation’s handling of the war.

The changing role of women is seen through Ono’s daughters and Dr Saito’s wife, each progressive in their own ways. Through the linear story of Noriko’s marriage negotiation the reader is able to observe the changing role of women within a continuing traditional context. At 26, Noriko is marrying late by traditional standards but is nonetheless forward thinking and bold, particularly in her interactions with her father where she appears to be on an equal footing, at times appearing overly assertive. Compared to Noriko, Setsuko is more deferring to her father but can be determined when the situation requires, such as refusing Ichiro to have sake at age 8 and exerting her authority in the home with Suichi, as referenced by Ichiro to Ono, thus in doing so she challenges women’s absolute deference to men. Dr Saito’s wife is another example of a woman with her own opinions and capable in conversation, all behaviours which are encouraged by the Saito family.

Changing attitudes to war is emphasised through Ono’s conversations with the next generation of males, particularly his sons-in-law. Suichi, who served in Manchuria, witnessed first hand the loss of life in the war and views the war as senseless and is bitter, which contrasts Ono’s view that these men which included his son Kenji were brave and patriotic. Suichi and Taro go on to work in companies under American leadership from which they derive hope and optimism, which juxtopises the positions of Ono’s generation like Mrs Kawakami, for whom the postwar reforms have resulted in loss of customers and the eventual sale of her bar, and the colleagues of Matsuda, who have fallen on hard times and to whom he occasionally gives money.

Kuroda’s encouragement of his protégé Enchi to develop his own style of painting demonstrates a freer approach to that of strict adherence to principles which were demanded by Mori-san and Ono, showing that the relaxing of previous strongly held views extended to many aspects of social life.

Changing Values Quotes

‘The point is, Noriko began to talk about the marriage negotiations in front of him [Mr Mori]. She took much the same attitude as just now, that everything was settled. It was most embarrassing. Mr Mori even congratulated me as he was leaving, and asked me the groom’s occupation.’ (Ono to Setsuko, on Noriko’s forwardness) Page 11

‘Ichiro’s a fine boy,’ I said. ‘Not at all shy like a lot of children that age.’
‘I hope he wasn’t giving you trouble just now. He can be quite headstrong at times. Please don’t hesitate to scold him if he becomes a nuisance.’ (Ono and Setsuko) Page 29

‘Suichi believes it’s better he likes cowboys than that he idolise people like Miyamoto Musashi [a ronin: samurai for hire]. Suichi thinks the American heroes are the better models for children now.’ (Setsuko to Ono, on Ichiro liking cowboys) Page 29-30

‘Really, Noriko, you shouldn’t be so indiscreet.’ (Ono) Page 44

‘There seems to be no end of courageous deaths,’ he said, eventually. ‘Half of my high school graduation year have died courageous deaths. They were all for stupid causes, though they were never to know that.’ (Suichi to Ono) Page 50

‘… When he [Ono’s late son, Kenji] was your age, he was as big and strong as you are now. I remember he had his first taste of sake at around your age. I’ll see to it, Ichiro, you get a small taste tonight.’
Ichiro seemed to consider this for a moment. Then he said: ‘Mother might be trouble.’ (Ono and Ichiro) Page 136

… it seemed to me clear – and Mrs Saito’s own high profile appeared to confirm this – the Saitos were not the old-fashioned sort of family who preferred their female members to be silent and demure. (Ono) Page 106

‘I never claimed all this fighting was a good thing. …Of course, one doesn’t want to see people hurt. But the underlying spirit – that people feel the need to express their views openly and strongly- now that’s a healthy thing, don’t you think so, Mr Ono?’ (Dr Saito to Ono) Page 107

‘…We feel very optimistic about the future. Within the next ten years, provided we all do our best, KNC should be a name recognised not just all over Japan but all over the world … ‘ (Taro, about this firm) Page 166

‘In fact, Father, just the other week I attended a reunion dinner of my school graduation year and for the first time since the surrender, all those present from every walk of life were expressing optimism for the future.’ (Taro) Page 167

‘Sometimes at home, Father wants to do something and Mother tells him it’s not allowed. Sometimes, even Father’s no match for Mother.’ (Ichiro, to Ono about his mother and father) Page 169

‘Mr Kuroda is always telling me,’ he said, ‘I should try and paint in a style more distinctly my own. But I find so much to admire in Mr Kuroda’s ways, I can hardly help mimicking him.’ (Enchi, Kuroda’s protégé to Ono) Page 98