#jun'ichi nakahara

[bishiedoll]

中原淳一 (Nakahara Junichi), Silhouettes.

[classic-shoujo]

[lasaraconor]

Jun'ichi Nakahara

[bobbole]

Jun'ichi Nakahara - Girl with Cat, 1930s

[warismenstrualenvy]

Illustrations for Otome no minato by Nakahara Jun’ichi (1937)

Although the novel never uses language that implies a physical relationship (which would have been censored at the time), Otome no minato is clearly a love story, both in the diction and in the actions of the main characters. The emotional bond between Michiko and Yōko rather than the presence or absence of physical intimacy is the defining trait of their relationship. Novels like Otome no minato are the heirs to the tradition of spiritual love discussed in the previous chapter. Because the S relationship is coded as chaste, the love between girls can attain the ideal of purity, whereas heterosexual relationships are always fraught with scandal, especially for the girl. Whereas the modern novel made the middle-class daughter the object of love in literature, rather than the geisha, in a society in which arranged marriage was still the norm, such love stories rarely had a happy ending, with the main characters married. As in Futon, the romance between a schoolgirl and a boy usually ended in shame and ostracism for the girl. However, the love between two girls, although destined to end, was safe and allowed girls living otherwise highly controlled lives to exercise some small measure of self-determination.

Deborah Shamoon, Passionate Friendship: The Aesthetics of Girl's Culture in Japan

[monkeyssalad-blog]

JP-2063728 by misoklau Via Flickr: received on 24 Apr 2024 from ayakafi - THANK YOU!

[art-mirrors-art]

Nakahara, Jun'ichi (中原淳) - The Girls of Twelve Months - November (1939)

[kuri-no-tani]

JVC Post #3

These last two media assignments were definitely interesting. I'll start with Momotaro: Umi no Shinpei. It was very clearly war propaganda, and doesn't really try to hide it or anything. The way the characters sing about their nation, glorify the labor and industrialization involved with supporting the war effort, and the way the movie depicts other races makes it very clear that the goal of this film was to use animation as a vehicle for nationalist propaganda. I particularly hated the several minute long stretch of them having the jungle animals of the "Eastern Allied Forces" sing あいうえおのうた.

Even putting the obvious and horrible imperial propaganda aside, the movie as an art piece is also not very good. You can chalk some of it up to degradation of course, but the sounds of screaming and airplanes was really difficult to sit through. The whole movie, despite being made for kids, completely lacks soul or love. I can feel that the guy who made this film was forced to make it.

That being said, I can also absolutely see the Disney and Eisenstein influence in the work as described by Otsuka in the provided essay An Unholy Alliance of Eisenstein and Disney: The Fascist Origins of Otaku Culture. I was unaware of this history of Eisenstein's film theory in Japan in particular before reading this essay, and I find the connection pretty interesting.

However, I'm really not sure I can follow Otsuka's points to their respective conclusions for most of them. At the end of the essay, he tosses out interpretations of manga and anime history that cite tradition and post-modernism, stating that

...It is neither Japanese traditions nor postmodernism that we must see in Japanese manga and animation, but rather the genesis of an aesthetics formed under fascism. Animators and animation theorists linked Disney and Eisenstein within a fascist system, arriving at a unified aesthetic.

I'm not going to say that I don't see the historical relevance of Disney and Eisenstein in relation to Japanese animation, particularly in the case of Tezuka Osamu, but to say this is the only way to describe the development of anime and manga aesthetics is quite the reach. I appreciate his detailed connections to Disney and Eisenstein in the essay, but I think he jumps the gun at the end.

For counter examples, look at the early works of artists like Jun'ichi Nakahara and Katsuji Matsumoto (Shoujo no Tomo in particular), which helped define shoujo manga. There's just too much out there to boil it down to one perspective, even though it's absolutely true that World War II had a big impact on Japanese art. Maybe I'm missing his point or something, but I guess I'll find out it class.

[sandra1219]

Jun'ichi Nakahara  illustration by hanakodo on Flickr

Jun'ichi Nakahara (中原淳一 Nakahara Jun'ichi, February 16, 1913 – April 19, 1983) was a Japanese graphic artist and fashion designer born in Higashikagawa, Kagawa Prefecture. According to the scholar Nozomi Masuda, Nakahara "greatly developed the eyes of shojo manga characters. Wikipedia

[fawnvelveteen]

Junichi Nakahara (1913-1983)

[pourablecat]

Magrat (and Queen Ynci, perhaps)

"They'd told her about tapestries, and embroidery, and farthingales, and how to shake hands with lords. They'd never told her about spikes." - Lords and Ladies

With the power of scrapped writing paper, new fineliners and my laptop camera, I'm trying my hand at a doodle a day for December - maybe silhouettes, maybe not, who knows? It's always so awkward starting a new sketchblog, but I guess this one's a bit more of a doodleblog.

[bishiedoll]

Dolls by Junichi Nakahara from an exhibition he held in 1932, when he was 19 years old, and which led to him being scouted by an editor of the magazine "Shoujo no Tomo" to become an illustrator for the magazine.

From: An interview given to Nakahara Rikako in 2020, titled "デビューは、人形作家" ("Debut as a doll maker").

[classic-shoujo]

Jun'ichi Nakahara

[lasaraconor]

Jun'ichi Nakahara

[radimus-co-uk]

Jun'ichi Nakahara

ジュニアそれいゆ 10

[thekimonogallery]

Artist: Jun'ichi Nakahara. About 1930s