By Henry Sakaida, Koji Takaki
B-29! No different time period struck such terror within the hearts of the japanese public in the course of global struggle 2 than this unmarried, most-hated identify. It was once then merely ordinary that the pilots who tried to shoot those high-flying Boeing bombers out of the skies over Tokyo, Nagasaki, Hiroshima and Kobe should still turn into often called the elite of the japanese military Air strength.
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Extra resources for B-29 Hunters of the JAAF
Tawaraya Sòtatsu (active 1600–1640), The Descent to the East from Tales of Ise. Courtesy The Gotoh Museum, Setagaya-ku, Tokyo. The same Mount Fuji that quietly rose behind the main road in the cartographies of political power, and that could be transmogrified into the embodiment of spiritual progress in the maps of religious discourse, took on yet another role in the representations of the poetically inspired. Those who invoked the sanctification of the classics to assign meanings to landscapes were more inclined to see in Mount Fuji one of the stages of Ariwara no Narihira’s (825–880) “descent to the East” (Azuma kudari) as narrated in Maps, Movements, and Malleable Spaces 39 Tales of Ise (tenth century).
If in Illustrated Map and Sur vey of the Tòkaidò the road was enlarged to underscore its prominence, and in Mandala of a Pilgrimage to Mount Fuji the mountain rose as the nexus between this world and the next, in Sòtatsu’s illustration Narihira and the peak stand out as equals. Such balance is not so much a matter of perspective as it is the application of a fundamental concept of lyrical maps: the literary icon and the geographical site are indispensable to one another, for it is by means of their reciprocal encounter that lyricism is created and meaning assigned.
3 cm (right-card inscription). Photograph © Museum of Fine Arts, Boston, gift of Mr. and Mrs. Alan J. Strassman. Courtesy Museum of Fine Arts, Boston. becomes the pretext for an emotional engagement with the landscape both on the part of Narihira—who is inspired to conceive one of his celebrated verses—and of the external observer—who is able to create an instant bond with literary tradition. Whereas the cartographies of the Tokugawa spoke of a political present and the mandalas revealed timeless paradises, the maps of lyricism brought the observer on a journey back in time.
B-29 Hunters of the JAAF by Henry Sakaida, Koji Takaki