Mockery and Fear in Perry

Alvin Wei 

            Foreigners can open a window for wonderment and fascination. For the Tokugawa Japanese in particular, their first diplomatic encounters with the United States created much excitement and bewilderment.[1] Since Commodore Matthew Perry’s first arrival to Japan in 1853, Japanese artists created numerous works delineating the commodore. One of the many portrayals includes this “Broadsheet portrait of Perry.” Created by an unknown artist in 1854, the artist made this black-and-white printed kawaraban (broadsheet) image of Perry.[2]

            Intended for the Japanese populace, this monochrome printed kawaraban features a depiction of Commodore Matthew Perry: it portrays him hoisting a sheathed sword and wearing a brimless cap covering his curly hair. Furthermore, the kawaraban portrays Perry maintaining a stern countenance—his lips are firmly placed together, surrounded with a thick mustache, and are parallel to his bushy eyebrows. He has large, rounded eyes, a high-bridged, protruding nose, a large, sagging earlobe, and many folds of skin along his cheek and chin.

            The print was created in 1854, the year of Perry’s second visit to Japan. Because many depictions of Perry were made during this year of his second expedition, perhaps there was a growing interest over capturing Perry’s true identity. For instance, the title of this kawaraban reads: “A true likeness of the commanding officer from the Republic of North America."[3] Although it asserts the credibility of the artist’s depiction of Perry, this depiction, nonetheless, is inaccurate in certain aspects. Perry has no facial hair and bushy eyebrows, yet he does have plenty of hair covering his head. Such inaccuracies suggest that Perry remained relatively inaccessible. Hence, some Japanese referred to Perry as the “High and Mighty Mysteriousness.”[4]

            Such seclusion from Perry and the numerous distortions of Perry’s features displayed in this print indicate that the artist relied on his imagination to depict the commodore. However, relying on imagination spells out the reliance on stereotypes by the Tokugawa Japanese for the depiction, revealing the populace’s cultural perceptions of Westerners. One such feature exploited due to stereotypes is the inclusion of facial hair. This addition of facial hair denotes Tokugawa Japan’s derisive stereotype for Westerners as “hairy barbarians.”[5] Faced with the unknown, Tokugawa Japanese had developed preconceptions of Westerners such as facial hair.

            With the sole reliance of imagination and rumors to represent Perry, the artist focuses on decisively choosing how to utilize exaggeration and caricature to depict him, revealing various elements of the society and politics of 1854 Tokugawa Japan. By portraying Perry as a stern figure, the artist suggests that he is serious in his intentions to open trade with Japan. By depicting Perry hoisting his sword up, the artist sends the message that Perry and his fellow Americans are willing to use force to compel Japan to concede to their demands. Thus, this gesture voices Tokugawa Japan’s fear, feeling of being threatened, and sense of danger and panic among its population during Perry’s gunboat diplomacy.

            The implication of this kawaraban is clear—Americans are an imposing and dangerous force for Japan, who should be wary of the future. Yet, this raises the question: is panic or fear the general feeling pervading throughout the Tokugawa Japanese public? Are there any instances of undermining or admiration of Perry and the Americans? Are there any primary sources depicting Perry in a positive light or are they all depicting him derogatively? In order to answer these questions, other portrayals of Perry should be analyzed in addition to this kawaraban.