金剛山、圓山、樂土之表象：論東亞殖民地官設展覽會

Abstract

Japanese colonialism varied between regions and eras, depending on perceptions of the situation in the Japanese homeland. Japan's differentiated system of colonial government is evident even in the cultural policies operative at the Chosun Art Exhibition (1922), Taiwan Art Exhibition (1927), and Manzhouguo Art Exhibition (1936). The best examples of the Japanese colonial policy in the background of art and government exhibitions are the wall paintings of colonial government offices: "The Legend of Mount Geumgang" (1926) by Sanzo Wada, who stood at the center of authority and power, and Saburosuke Okuda's "Taiwan gentleman" (1920) and "Harmony of the Five Races" (1936). These works directly ref lect Japan's colonial policy and philosophy. At the same time, they speak to the relationship between the ruling and subjugated class through the publication of the colonial slogan, which states that Japan and Chosun are of one body. The implicit meaning in the subject matter of each painting was indicated by the invocation of national symbols; Mount Geumgang for Chosun, the shrine on Taiwan's Mount Yuan, and Manchukou's, Utopian Harmony of the Five Races. In these symbols, we can find representation of Japan's East Asian colonial governance.