An Artist Of The Floating World By Kazuo Ishiguro : Relative Study.

Introduction : This blog is written as a response to the Thinking Activity assigned by my professor Dr Dilip Barad sir after studying and discussing the masterpiece 'An Artist of the Floating World' written by British author Kazuo Ishiguro in 1986. The novel deals with the theme of underlying guilt in one's character after having been acquainted with the wrong done in the past, and several conflicts are also dealt with such as generation gap and conflicts, service of state or monarchy versus self and freedom of art, 'Art for the sake of Art' versus 'Art for the sake of Life,' Artiststic craftsmanship used for thr the financial gain (Takeda Firm,) and art for the service of monarchy, nation, orr imperialism. It shows a deep concern with the psyche of the unreliable first-person narrator and protagonist Masuji Ono.

In further course of the blog, we will be discussing some aspects of the novel in form of question-answers :

1 : 'Lantern' appears 34 times in the novel. Even on the cover page, the image of lanterns is displayed. What is the significance of Lantern in the novel?

Answer : The motif 'Lantern' and its recurrence in the novel whensoever the reference of paintings, Seiji Moriyama, Masuji Ono, and the Ukiyo-e painting of 'Complacency' later renamed by Ono as 'The Eyes on Horizon' under influence of Imperialism infused by his nationalist friend Chishu Matsuda.

So, well as it has been discussed in a class throughly, I have taken certain important aspects as to why the motif of 'Lantern' appears in the novel takimg its own significance which we will see here. It depicts the transient nature of beauty, art, and life; its gardual extinguishing suggests that during life, one should give attention to small details to be happy and should enjoy the life before it gets evaporated as alike the evanescent flame of the 'Lantern.' We can attach a famous song 'Enjoy Yourself (It's Later Than You Think)' written by Herb Magidson and published in 27th November, 1949. It was later famously sung by American singer Doris Day in the collections 'I Own It' & 'I Want It' on 27th February, 1950. Here is the lyrical video of the song :

The symbol of 'Lantern' - if taken with the context of Seiji Moriyama - can be denoted as the pleasure an artists seeks by preparing the artistic crafts despite being aware of its transitory nature, for 'Nature' itself mutable phenomenon! We can refer to another fine documentary 'Rivers & Tides : Andy Goldsworthy Working With Time' prepared by Andy Goldsworthy. Here is the trailer of the documentary :

It is also said that the process of art making is an art itself.

2 : Write in brief a review of the film based on the novel.

Answer : We have had film-screening of the novel 'An Artist of the Floating World.' The movie remains as the most faithful adaptation of the novel than the others and was directed by Kazuki Watanabe. It was made in Japanese language but is available with English sub-titles. There are some improvisations made by the director while recording the scenes which differ from the narration of the novel.

The sequence of Masuji's running into the dark and narrow alley after being induced with false sentiments of Imperialism and with fear of the national extinction by Chishu Matsuda, he fails to recognize the nuantic difference between the truth which was poverty and the post-truth which was serving one's nation and thus from the universality of art to the narrowness of nationalism, imperialism, and egoism of the government or the emperors.

3 : Debate on the Uses of Art / Artist (Five perspectives: 1. Art for the sake of art - aesthetic delight, 2. Art for Earning Money / Business purpose, 3. Art for Nationalism / Imperialism - Art for the propaganda of Government Power, 4. Art for the Poor / Marxism, and 5. No need of art and artist (Masuji's father's approach.) 

Answer : Surely the novel has this one of many salient characteristics which is that it brings the agelong debate of 'Art : For the Art's Sake or For the Life's Sake' along with two collaborative aspects which are 'Art for the Nation or Imperialism' and 'Art for the Business or to Earn Money - as a sole purpose.' 

Here we can distinguish 4 purposes of Art with its representative characters from the novel being discussed : 

(1) Art for Art's Sake » Seiji Moriyama

(2) Art for Life's Sake » Masuji Ono

(3) Art for Imperialism » Chishu Matsuda

(4) Art for Business » Master Takeda 

The fifth approach we can derive from the novel is of Masuji Ono's father's approach as he believes that Art is for lazy people and is of no use in pragmatic world of business : 

"Artists’, my father’s voice continued, ‘live in squalor and poverty. They inhabit a world which gives them every temptation to become weak-willed and depraved. Am I not right, Sachiko?" 

During the classroom course of the novel, sir had prepared an informative chalk-art of 'Art & Its Purposes' :

(Photo Courtesy : Professor Dr Dilip Barad)

Now, I would like to reflect upon the four point of views concerning Art and its Purposes as implicitly put in the novel by the author. 

Dealing with the very first utility of Art which is 'Art for Art's Sake' and is represented by Masuji Ono's sensei Seiji Moriyama, I would opine that 'Art' should not be reduced to any narrowness of political propagandas, imperialism, business accomodity, except to show the realities of contemporary time as it is - be it affluence or poverty. At most, any artform should be dragged upon the level of depicting realities, having said that, any concious artist depicting realities of his/her time should keep the nuantic difference between of the purpose of wellbeinh through the artwork he/she is going to create and the political propaganda which can use the artwork to serve narrowness of imperialism and monarchy which curtails the freedom of an artist's imagination and reduces it to see only one aspect which is hazardous for both - the artist and for people. Here it is well presented by the author in the novel through the sequence of talk beyween Masuji Ono and Chishu Matsuda after which Masuji changes the title of his famous painting 'Complacency' which was 'Art for Life's Sake' into 'Eyes on the Horizon' which was 'Art for the Imperialism or Monarchy' leading him to lifelong guilt.

(Photo Courtesy : Professor Dr Dilip Barad)

Another aspect is 'Art for Life's Sake' which can be seen in the sequence of the talk between Masuji Ono and Chishu Matsuda. Chishu Matsuda induces Masuji Ono with the fact that our people are becoming poorer and having less standards of living, Masuji Ono was unknowingly lulled into the narrow and restricted alley of nationalism, politics, monarchy, and imperialism from the universality of Art. Masuji's intention was to do good for the indigent people but the means he used was the political propaganda which brought him with the lifelong guilt and despisement from his family and the people familiar with him. 

"Mr Ono, my name is Chishu Matsuda. We have, in fact, been in correspondence. I work for the Okada-Shingen Society.’ The Okada-Shingen Society no longer exists today – one of many such victims of the occupying forces – but quite possibly you will have heard of it, or at least of the exhibition it held each year until the war. The Okada-Shingen exhibition was for a time the principal means in this city by which artists emerging in painting and printmaking came to win public acclaim. Indeed, such was its reputation that in its latter years, most of the city’s leading artists were displaying their latest works there alongside those of the newer talents. It was in connection with this same exhibition that the Okada-Shingen Society had written to me a few weeks prior to the afternoon of Matsuda’s visit.

‘I was made a little curious by your reply, Mr Ono,’ Matsuda said. ‘So I thought I’d call by and discover what it was all about.’

I looked at him coldly and said: ‘I believe I made all the necessary points in my letter of reply. It was, however, most kind of you to have approached me.’

A slight smile appeared around his eyes. ‘Mr Ono,’ he said, ‘it seems to me you are forgoing an important opportunity to enhance your reputation. So please tell me, when you insist you wish to have nothing to do with us, is that your own personal opinion? Or is it what your teacher happened to decree?’

‘Naturally, I sought my teacher’s advice. I am perfectly confident that the decision conveyed in my recent letter is the correct one. It was very good of you to come out here, but unfortunately I am occupied at this moment and cannot ask you to step up. I’ll therefore bid you a good day.’

‘One moment please, Mr Ono,’ Matsuda said, his smile looking ever more mocking. He took a few more steps, coming right up to the veranda, and looked up at me. ‘To be frank, I am not bothered about the exhibition. There are many others worthy of it. I came here, Mr Ono, because I wished to meet you.’

‘Really? How good of you.’

‘Indeed. I wished to say I am very struck by what I have seen of your work. I believe you have much talent.’

‘You’re most kind. No doubt I owe much to the excellence of my teacher’s guidance.’ 

‘No doubt. Now, Mr Ono, let us forget this exhibition. You must appreciate I do not merely work for the Okada-Shingen as a kind of clerk. I am a true lover of art. I have my beliefs and passions. And when every once in a while I come across a talent that truly excites me, then I feel I must do something about it. I would very much like to discuss certain ideas with you, Mr Ono. Ideas which may never have occurred to you before, but which I modestly suggest will be of benefit to your development as an artist. But I’ll keep you no longer for the moment. Let me at least leave my calling card.’ 

So, in aforementioned dialogue, we find how the artistic universal values are subdued by the crooked and guileful political statements which also links us to the 'Orwellian' perspective as far as language and its use are concerned especially in political propagandas. 

The third aspect of Art is 'Art for Imperialism.' As and when any artist is turned to exploit his/her skill to serve the narrow and bounded field of politics, he/she leads people to disaster by blimdly following that which limits the life by egoistic manipulation of subjects and their freedom. In India, recently a folklorist Upendra Rana was caught the eyes by singing such instigating songs which limit one's identity to particular community or caste and induces an individual to act accordingly :

(Photo Courtesy : The Print News)

Even we find certain songs in Western world as well which is degrading one's universal human value to the narrowness of the political boundaries. For instance :

Here Masuji Ono's sensei Seiji Moriyama's causative statements to Masuji Ono are worth referenced :

'Mori-san remained silent for a moment. Then he said: ‘And what did the others have to say about this?’
‘I asked them, but no one seemed to know anything. Or at least, no one seemed willing to tell me.’
‘So what did you conclude, Ono? Is there some conspiracy against you?’
‘Well, as a matter of fact, Sensei, the others do appear anxious to avoid my company. Indeed, I have been unable to have a single conversation with any of them over these past few days. When I enter a room, people go silent or else leave altogether.’
He made no comment on this, and when I glanced towards him, he appeared to be still absorbed by the setting sky. I was in the process of lighting another lantern when I heard him say: ‘Your paintings are presently in my possession. I’m sorry if I caused you alarm by taking them. It just so happened I had a little spare time the other day and thought it a good opportunity to catch up on your recent work. You appeared to be out somewhere at the time. I suppose I should have told you when you returned, Ono. My apologies.’
‘Why, not at all, Sensei. I’m most grateful you should take such an interest in my work.’
‘But it’s only natural I should take interest. You are my most accomplished pupil. I have invested years nurturing your talent.’
‘Of course, Sensei. I cannot begin to estimate what I owe you.’
Neither of us spoke for a few moments, while I continued to light lanterns. Then I paused and said: ‘I am very relieved no harm has come to my paintings. I should have known there was some simple explanation of this kind. I can now put my mind at rest.’
Mori-san said nothing to this, and from what I could make of his silhouette, he did not take his eyes from the view. It occurred to me he had not heard me, so I said a little more loudly: ‘I am glad I can put my mind at rest regarding the safety of my paintings.’
‘Yes, Ono,’ Mori-san said, as though startled out of some far-away thoughts. ‘I had a little spare time on my hands. So I had someone go and fetch me your recent work.’
‘It was foolish of me to have worried. I’m glad the paintings are safe.’ He did not speak for some time so that I again thought he had not heard me. But then he said: ‘I was a little surprised by what I saw. You seem to be exploring curious avenues.’
Of course, he may well not have used that precise phrase, ‘exploring curious avenues’. For it occurs to me that expression was one I myself tended to use frequently in later years and it may well be that I am remembering my own words to Kuroda on that later occasion in that same pavilion. But then again, I believe Mori-san did at times refer to ‘exploring avenues’; in fact, this is probably another example of my inheriting a characteristic from my former teacher. In any case, I recall I did not respond other than to give a self-conscious laugh and reach for another lantern. Then I heard him saying: ‘It’s no bad thing that a young artist experiment a little. Amongst other things, he is able to get some of his more superficial interests out of his system that way. Then he can return to more serious work with more commitment than ever.’ Then, after a pause, he muttered as though to himself: ‘No, it’s no bad thing to experiment. It’s all part of being young. It’s no bad thing at all.’

The fourth aspect of art is in regards with commercial use of art which can be referred to as 'Art for Business.' Here in this part, Takeda Firm owned by Master Takeda was selling paintings as per orders, so sometimes the painters like 'Tortoise' were mocked to be a bit slow and slacky in painting the art, for the orders are supposed to reach to the customer on time which is simple decorum of any business and commercial activity. Here it symbolises the business of one's creativity which is exploited for financial gain.

The fifth point is a standalone aspect of the timeless debate of whether or not art and artists should be romoved from the state. It has its roots in the argumemts proposed by Greek philosopher Plato in his celebrated political treatise 'The Republic' wherin -as alike Masuji Ono's father - he argues against the artists and verges them upon to be banished from the state in order to create an ideal state which is later on was refuted by his disciple Aristotle in his defensive book 'Poetics.'

Well, here in the novel, Masuji Ono's father alerts him that - as stated earlier - "artists live in squalor and poverty" and implicitly alluding that artists and their art and crafts are of no use in the pragmatic world of business. If I am to opine on this approach, I would tell that artists are not burden or nuisance for society, but they are the ones who can bring reforms in soical, religious, and political spheres eventually resulting in the wellbeing of the society. But if artists incline to serve the limited blundaries of imperialism and government, indeed it is dangerous for the life of the people which eventually leads to destruction of indivuduals, families, states, and the entire nationalities.

4 : What is the relevance of this novel in our times?

Answer : The relevance of the novel in our times can be found in context of 'Art' and its 'Functions' as discussed in previous answers. Hereby we can relate the four aspects of 'Art' to the contemporary ongoing matters with illistrations respectively :

(1) Art for Art's Sake :

The very first relation of this aspect can be linked with the aesthetic values depicted in artworks of Indian

(2) Art for Life's Sake :

Another aspect can also be observed of Art, which is for the sake of bringing reformation in rotting society, its problems affecting people's lives day by day which instigate poets, painters, and novelists especially to reflect critically upon such problems so that people become aware of such malaise prevailing the contemporary times and take steps to prevent and abolish them. For instance, we have a recent video-poem by Indian stand-up comedian Vir Das wherein he talks about the dichotomy of India (Here the blogger is not showing YouTube directory to the original video, thus I am compelled to embed the link of the video in the following attached image, tap the picture to redirect to the video) :

(3) Art for Imperialism :

For this we can cite a striking reference as the director in Padmaavat (2018) movie improvised how dictators and rulers lull emotionally susceptible people into committing fallacy in the name of nation, religion, and social identity which underly the personal gain of the rulers or dictators, ofcourse it is the great characteristic of true leaders to bind their people together in order to get desired outcome, but taking them in decadence, this becomes problematic; we can also relate Adolf Hitler's speeches and :

(4) Art for Business :

Art and crafts nowadays have become a way to get income, more precision in art, more money an artist get paid. It was in old time that artists, especially poets, used to roam like a beggar on a street and trying to get some sort of livelihood by pleasing the kings and singing glories of the religious affairs going on in their times, but it has dramatically changed in the post-modern era, for today, the more a poet is critical, the more he/she is popular and successful, this is good. But as we saw in the novel that the artistic brilliance can also be prone to exploitation for the personal gain which is waning the hue of moon-like art. We have weekly magazines to promote the wealing words among the society for which highly knowledgeable columnists are required, they are asked and expected to provide writings on time to remain in spot, for which sometimes they have to speak even while they have nothing to speak, this also leads to the dissemination of ill-ideologies which holds the potential to lead the majority to the decadence and thus devastation of the world especially when the majority is emotionally susceptible which can be easily instigated by sentimental harangues. Another thing is that how one does business of artistic crafts becomes conspicuously noticeable. Singers are nowadys turning their art of singing into marketing machinery; in Gujarat, we find certain singers who can sing anything that pleases the community and caste they are performing for only for the sake of money :

I know that for the foreign readers, the aforementioned videos will be difficult to understand on the grounds of language for which I feel sorry. So, we find Yukio Naguchi amongst these type of singers who give air to the casteism and communalism and sectarianism only to divide but to unite. 

Thank you!