Culture and Tradition in Kazuo Ishiguro's An Artist of the Floating World
Culture and tradition are at the centre of Ishiguro’s novel An Artist of the Floating World.
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Culture and tradition are at the center of Kazuo Ishiguro's novel An Artist of the Floating World. The novel is set in postwar Japan, a time when the country was struggling to rebuild and come to terms with its recent defeat in World War II. In this context, Ishiguro explores how culture and tradition can provide both comfort and constraint, as individuals and society grapple with change.
One of the most prominent cultural traditions depicted in the novel is the miai tradition, a matchmaking process that is still practiced in some parts of Japan today. In the miai tradition, potential spouses and their families meet each other in a formal setting to get to know each other and decide whether to marry. The miai process is highly ritualized, and it is important for both parties to adhere to the traditional expectations.
In the novel, Mr. Ono's daughter Noriko is engaged in a miai with Jiro Miyake, a young man from a prestigious family. However, when the Miyake family learns of Mr. Ono's involvement in the war propaganda machine, they break off the engagement. This incident highlights the importance of social status and reputation in Japanese culture, as well as the power of tradition to shape people's lives.
Another important cultural tradition depicted in the novel is the hara-kiri tradition, also known as seppuku. Hara-kiri is a ritual suicide that is often performed as a way to atone for one's sins or to restore one's honor. In the novel, the president of the Kimura company, for which Jiro Miyake works, commits hara-kiri to apologize for his involvement in the war. Additionally, a famous composer of war songs, Naguchi, also commits hara-kiri as an atonement for his participation in the war.
The hara-kiri tradition is complex and controversial. Some people view it as a noble and honorable act, while others view it as a barbaric and outdated practice. In the novel, Mr. Ono is opposed to the hara-kiri tradition. He sees it as a waste of human life and a sign of Japan's militaristic past.
The novel also explores the traditional master-student relationship in Japanese culture. In this relationship, students are expected to be unquestioningly subservient to their masters during their training. This tradition is evident in the studios of Master Takeda and Seiji Moriyama, where students are required to follow their teachers' teachings without question.
When a student creates art that is against the teacher's teachings, the paintings are confiscated, and in most cases, the student is expelled from the studio. For example, Sasaki is considered Mori-san's leading pupil, but when he creates controversial paintings, he is forced to leave the studio. Similarly, when Mr. Ono creates paintings that are antagonistic to the teachings of Mori-san, he is also expelled.
The master-student relationship is a reflection of the traditional Japanese emphasis on hierarchy and obedience. It also reflects the importance of tradition in Japanese culture. Students are expected to learn from their masters and to carry on the traditional artistic traditions.
The novel also explores traditional Japanese family roles. In the Ono family, the reception room is a place of solemn respect. Children are discouraged from entering the reception room unless they are bidden to do so. Mr. Ono himself was forbidden from entering the reception room until he was twelve years old.
Gender roles are also clear in the Ono family. Even Mr. Ono's young son, Ichiro, is already being socialized into these roles. For example, Ichiro is taught to bow to his elders and to be respectful of women.
The traditional Japanese family structure is based on the principle of hierarchy. The father is the head of the household, and the mother and children are subordinate to him. The novel shows how this traditional structure can be both comforting and suffocating. On the one hand, it provides a sense of order and stability. On the other hand, it can also restrict individual freedom and self-expression.
In conclusion, almost every aspect of the novel An Artist of the Floating World is connected to tradition and culture. The novel shows how tradition can provide both comfort and constraint, as individuals and society grapple with change.