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Ikeda Manabu, the 2011 Great East Japan Earthquake, and Disaster/Nuclear Art in Japan

Published online by Cambridge University Press:  07 May 2025

Asato Ikeda
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Article summary: This article introduces Ikeda Manabu and his art, and situates his work within the history of imagining disasters in Japanese art by introducing prominent Japanese works, including disaster prints from the Edo and Meiji periods and nuclear art by Domon Ken, Fukushima Kikujiro, and Maruki Iri and Toshi. The article will ultimately consider what Ikeda's art means to the larger discourse of contemporary Japanese society and art.

Type
Research Article
Information
Asia-Pacific Journal , Volume 11 , Issue 13 , April 2013 , e2
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Creative Common License - CCCreative Common License - BYCreative Common License - NCCreative Common License - ND
This is an Open Access article, distributed under the terms of the Creative Commons Attribution-NonCommercial-No Derivatives licence (http://creativecommons.org/licenses/by-nc-nd/4.0/), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is unaltered and is properly cited. The written permission of Cambridge University Press must be obtained for commercial re-use or in order to create a derivative work.
Copyright
Copyright © The Authors 2013

References

Notes

I would like to express my gratitude to N. J. Hall, Maiko Behr, Shirin Eshghi and Katherine Berry-Kalsbeek, who provided editorial help.

1 This article is based on an interview with Ikeda Manabu that I conducted in November 2012. I express my gratitude to the artist who kindly shared with me the vision of his art.

2 Noguchi Takehiko, Ansei Edo jishin: saigai to seijikenryoku [The Ansei Edo Earthquake: Disaster and Political Power](Tokyo: Chikuma shobo, 2004).

3 For more on namazu-e, see Cornells Ouwehand, Namazu-e and Their Themes: An Interpretative Approach to Some Aspects of Japanese Folk Religion (Leiden: Brill, 1964). Hidemi Shiga, “The Catfish Underground: Japan's Earthquake Folklore and Popular Responses to Disaster,” Orientations 37. 3 (2006).

4 Yamashita Fumio, Sanriku Otsunami [Sanriku Great Tsunami](Tokyo: Kaede shobo, 2011).

5 I do not discuss arts and visual culture of the 1923 Tokyo Earthquake here, as Gennifer Weisenfeld has just published an excellent book on this subject. Gennifer Weisenfeld, Imaging Disaster: Tokyo and the Visual Culture of Japan's Great Earthquake of 1923 (Berkeley: University of California Press, 2012).

6 Julia Adeney Thomas, “Power Made Visible: Photograph and Postwar Japan's Elusive Reality, Journal of Asian Studies 67. 2 (2008): 382-386; Frank Feltens, ”‘Realist’ Betweenness and Collective Victims: Domon Ken's Hiroshima,“ Stanford Journal of East Asian Affairs (Summer 2011): 64-75.

7 For more on discourses about Hiroshima, see Lisa Yoneyama, Hiroshima Traces: Time, Space, and the Dialectics of Memory (Berkeley: The University of California Press, 1999).

8 Maruki Iri and Maruki Toshi, The Hiroshima Panels (Saitama: Maruki Gallery for The Hiroshima Panels Foundation, 2004); John W. Dower and John Junkerman, The Hiroshima Murals: The Art of Iri Maruki and Toshi Maruki (Tokyo: Kodansha International, 1985).

9 Link

10 Jeff Kingston, “Japan's Nuclear Village.”