Contested bodies: female imagery in pre-war Okinawa.
In April 1938, the international celebrity painter, Fujita Tsuguharu (also known as Léonard Tsuguharu Foujita) arrived in Okinawa for a two-month stay during which he toured the islands, frequenting the Tsuji brothel district, visiting traditional fishing villages and painting the landscape and its...
| Publicado en: | Japan Forum Vol. 37; no. 4; pp. 467 - 493 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Oct2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=188423576&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 188423576 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 09555803 5BH jtl: Japan Forum issn: 09555803 maglogo: N pubinfo: dt: Oct2025 vid: 37 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 188423576 10.1080/09555803.2025.2494757 ppf: 467 ppct: 26 formats: fmt: – @attributes: type: T db: hlh ui: 188423576 – @attributes: type: P db: hlh ui: 188423576 tig: atl: Contested bodies: female imagery in pre-war Okinawa. aug: au: Tomizawa-Kay, Eriko su: Fishing villages Clothing & dress Imperialism Ambivalence Painting Painters sug: subj: Fishing villages Clothing & dress Imperialism Ambivalence Other Clothing Stores Family Clothing Stores Cut and Sew Apparel Contractors Clothing and clothing accessories merchant wholesalers Independent visual artists and artisans Independent Artists, Writers, and Performers Painting Painters keyword: Ōshiro Kōya assimilation colonialism Fujita Tsuguharu Nadoyama Aijun Ryūkyūan clothing Tōma Yukio the Okinawan female body tourism yōga Ōshiro Kōya assimilation colonialism Fujita Tsuguharu Nadoyama Aijun Ryūkyūan clothing Tōma Yukio the Okinawan female body tourism yōga ab: In April 1938, the international celebrity painter, Fujita Tsuguharu (also known as Léonard Tsuguharu Foujita) arrived in Okinawa for a two-month stay during which he toured the islands, frequenting the Tsuji brothel district, visiting traditional fishing villages and painting the landscape and its inhabitants. Fujita's Okinawan works offer us critical insights into the complex role of art in negotiating the asymmetries of what scholars have come to call the 'contact zone' (Pratt 2008). Equally important, they provide us with a lens through which we can re-interrogate paintings of Okinawan women produced over the same period (1938–9) by his Okinawan colleagues: artists and admirers such as Ōshiro Kōya, Nadoyama Aijun and the little known Tōma Yukio, all of whom struggled to visually reconceptualise the relationship between the mainland and its colonial subject. Examining rarely discussed pre-war paintings of Okinawan women by both mainland and Okinawan artists, this essay explores ways in which representations of the female body – the canonical object of the exoticising gaze – offered both coloniser and colonised a means to investigate the ambivalences, contradictions and brutalities of the colonial endeavour. These paintings, this essay argues, were deeply imbricated in wider discussions of colonialism and subordination, and they have been implicated in debates that have produced a new perspective on tensions between Okinawa and mainland Japan. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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