This paper examines how ‘machine aesthetics,’ a 20th century art trend characterized by geometric forms, linear motifs, and industrial materials, shaped the visual culture of Manchukuo. While commonly associated with European movements like Bauhaus, New Objectivity, and Constructivism, this aesthetic also resonated in the art worlds of imperial Japan and Manchukuo as embodying Asiatic visions of modernity.
Focusing on the works of Kuriyama Hiroshi (1909-1952), the only artist in Manchukuo to win the Ministry of Civil Affairs Award twice, this study explores his “Manchukuo Construction” series and its place within the Tōyōga (Oriental-style Art) Section of the Manchukuo Art Exhibition. The research reveals how Manchukuo’s visual culture used machine aesthetics to depict labor, architecture, and science—uniquely blending these themes into nihonga or Japanese-style painting.
The paper further discusses how machine aesthetics extended beyond official or government-driven art into the visual themes and motifs of mass media—including graphic magazines, photography, and film—cultivating the techno- utopian fantasies of Manchukuo’s imperial ambitions. These visual codes evolved during the transition from the Dalian era to the Changchun era, highlighting the shifting cultural and political landscape of the time. The paper offers new insights into how machine aesthetics intersected with nihonga and mass media in Manchukuo, shaping a distinct visual culture that reflected imperial ambitions and techno-utopian fantasies during a critical period of transition in East Asia.