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
Heiwa Kinen Tōkyo Hakurankai: Tōkyo Ueno Kōen, Taishō jūichinen sangatsu tōka yori Taishō jūichinen shichigatsu sanjūichinichi made = The Tokyo Peace Exhibition: Ueno Park, Tokyo. March 10 July 31, 1922. (Goddess with doves)
12020-04-29T17:19:35-07:00Curtis Fletcher3225f3b99ebb95ebd811595627293f68f680673e371404Exhibitionsplain2021-05-17T11:17:23-07:00USC Digital LibraryUSC Libraries. East Asian Library1922Ichida Ofusetto Insatsu Kabushiki Kaisha, Toppan Insatsu Kabushiki Kaisha. Printed with: HB purosesu seihan = Huebner-Bleistein process[Tokyo, Japan]USC Japanese poster collection: Expo postersCurtis Fletcher3225f3b99ebb95ebd811595627293f68f680673e
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12021-05-12T16:08:42-07:00Curtis Fletcher3225f3b99ebb95ebd811595627293f68f680673eImages in the Full CollectionCurtis Fletcher6plain2021-05-17T11:33:42-07:00Curtis Fletcher3225f3b99ebb95ebd811595627293f68f680673e
12021-05-12T16:07:54-07:00Curtis Fletcher3225f3b99ebb95ebd811595627293f68f680673eImages Used in this ExhibitCurtis Fletcher2plain2021-05-17T11:59:07-07:00Curtis Fletcher3225f3b99ebb95ebd811595627293f68f680673e
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12020-04-29T14:39:33-07:00Heiwa Kinen Tokyo Hakurankai/The Tokyo Peace Exhibition6plain2020-05-07T15:53:24-07:00Designed for the Tokyo Peace Exhibition, the poster depicts a standing woman, in a style reflecting Japan’s ancient shamaness, and gives a sense of peace and harmony. She is holding a torch or mirror, which evokes people's memories of the First World War. The background architecture is symmetrically composed. In addition, the placement of the woman and the exhibition title contribute to a formal or proportional balance, creating a sense of stability and confidence. In contrast, the upper portion of the poster has fewer pictorial elements, allowing viewers’ focus on the exhibition title, doves, and the gleaming torch or mirror against the sky. In particular, by inserting artificial light, the poster seems to further emphasize the exhibition as an embodiment of humanity and the idea of peace in 1920s Japan as much as it speaks to the period’s design practice in combining Western and Japanese elements. (Alvin Huang)
