Unpinning History: Japanese Posters in the Age of Commercialism, Imperialism, and ModernismMain MenuIntroductionJapan in the Age of Commercialism, Imperialism, and ModernismThe Rise of Tourism and the Era of Ocean LinersThe Rise of Tourism and the Development of Railway NetworksProvocation of Citizenship: Posters for the Ministry of CommunicationsExhibition CultureBijin: Posters with a Beautiful WomanArrival of Modern Commercial DesignBibliographyCollection NoteReuse and Remix this Exhibition
Dai Nippon Seitō Kōshi (Moji Factory and Woman in dark kimono with roses)
12020-04-29T17:19:35-07:00Curtis Fletcher3225f3b99ebb95ebd811595627293f68f680673e371405Sugar--Manufacture and refiningplain2021-05-17T11:13:48-07:00USC Digital LibraryUSC Libraries. East Asian Library1915Tōkyō Insatsu Kabushiki Kaisha = The Tokyo Printing Co.[Tokyo, Japan]USC Japanese poster collection: Posters of commercial products and companiesCurtis Fletcher3225f3b99ebb95ebd811595627293f68f680673e
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12021-05-12T16:07:54-07:00Curtis Fletcher3225f3b99ebb95ebd811595627293f68f680673eImages Used in this ExhibitCurtis Fletcher2plain2021-05-17T11:59:07-07:00Curtis Fletcher3225f3b99ebb95ebd811595627293f68f680673e
12021-05-12T16:08:42-07:00Curtis Fletcher3225f3b99ebb95ebd811595627293f68f680673eImages in the Full CollectionCurtis Fletcher6plain2021-05-17T11:33:42-07:00Curtis Fletcher3225f3b99ebb95ebd811595627293f68f680673e
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1media/Dai Nippon Seito Koshi Moji Factory and Woman in dark kimono with roses.jpg2020-04-29T14:37:18-07:00Dai Nippon Seitō Kōshi [Japan Sugar Co.]9plain2020-05-06T20:36:25-07:00This Dai Nippon Seitō Kōshisugar refinery advertisement showcases a bijin—a beautiful woman who appeals to audiences at home and in foreign territories—to capture the spirit of the thriving commercial culture during the Taishō period (1912-1926). Her kimono features patterns of sugarcanes and seigaiha—waves that promise good fortune in business. In addition, the company’s Chinese name, as well as the Chinese inscriptions praising the product on the stone stanchions, indicate foreign trade routes, including China and Taiwan, the latter of which served as Japan’s major producer of sugarcane. The scenery behind her draws the viewer’s gaze to the Moji factory and the figures hard at work transporting goods on and off the boats. Furthermore, the red and light roses in her hand mimic her crimson lips and her porcelain skin. The stark contrast of red and white also acts as a callback to the company’s rose-marked bag of cane sugar. These subtle yet discernible visual marketing strategies of Dai Nippon Seitō Kōshi sugar refinery entice viewers and advertise the superior quality of their product. (Alexia Nutting and Christina Yoo)
