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)
12020-04-29T17:19:34-07:00Curtis Fletcher3225f3b99ebb95ebd811595627293f68f680673e371405Exhibitionsplain2021-05-17T11:16:28-07:00USC 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 postersTada Hokuu (1889-1968)Curtis 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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1media/Heiwa Kinen Tokyo Hakurankai Tokyo Ueno Koen Taishoojuichinen sangatsu tōka yori The Tokyo Peace Exhibition Ueno Park Tokyo March 10July 31 1922 Goddess.jpg2020-04-29T14:47:19-07:00Heiwa Kinen Tōkyo Hakurankai/The Tokyo Peace Exhibition, Ueno Park Tokyo, March 10-July 31 19226plain2020-05-06T16:38:55-07:00The poster was produced to advertise the Tokyo Peace (Memorial) Exhibition, which was held in 1922 at Ueno Park, Tokyo. The standing woman, who “unveils” the exhibition, echoes a difference between Eastern and Westertn principles of design. She evokes a sense of unity and harmony; emphasizing peace. Her clothing, hairstyle, and the buildings in the background contribute to this theme. Her fashion reflects newfound female liberties: she dons a goddess-like Western dress with her shoulders and arms exposed.
The Japanese government used the Tokyo Peace exhibition as a propaganda tool to increase national pride and public confidence in celebrating the end of The First World War (Japan was part of the Allied Powers), and support to implement its legislative changes. For example, the exhibition had pavilions of Japan’s colonies, such as Karafuto (South Sakhalin), Korea, and Taiwan. Despite government intentions, the majority of the audience just found the event entertaining. This poster, designed by Tada Hokuu, who opened his own design studio in the same year of the exhibition, and reveals how Japan was receptive to foreign cultures, including artistic styles and theories of design, and the surge of imperialism. (Alvin Huang and Qira Kong)
