Figure 1.--This Ambrotype photograph shows a Japanese boy nammed Okuda Michitaro. His name is written in sumi ink on the back of the wooden case. It is a fascinating view of both hair styles and traditional clothing. This looks to be dress hakama kimono and not an everyday one. Hakama are a kind of long skirt, tied at the waist and fall to the ankles. Hakama are worn over a kimono (hakamashita). They were in the 19th century when this portrait was tken a men's style, but women now also wear hakama. We are not sure what he is holding, perhaps a cased photograph.

We do not have many personal accounts from Japan yet. Hopefully we will hear more from our Japanese readers so we can expand this section. The language barrier here may be a problem. Many Japanese readers are hesitant to make a submission in English. We note an Ambrotype portrit of Okuda Michitaro in the 1880s. Ambros were still being made in Japan long after they have been dusplaced by CDVs and cabinet cards in the West. He wears traditional clothing and has a traditiinal swept-back hair style. He looks to come from a wealthy family. Perhaps he was tutored at home. We note another wonderful Ambrotype portrait of Matsuda Komataro who looks ready to set of for school in 1885. We note a portrait of four Osaka boys in 1936. A first we thought they were brothers, but the dealer tells us that their names appear to be different. We do not know much about them, but theeir choice of clothing is interesting. A Japanese reader has provided us a fascination account about his experiences as a National Boy during World War II.

Okuda Michitaro (1880s)

This Ambrotype photograph shows a Japanese boy nammed Okuda Michitaro. His name is written in sumi ink on the back of the wooden case. He looks to be a younger teenager, perhaps 13-14 years old. It is a fascinating view of both hair styles and traditional clothing. His hair is sevrly combed back, but with a modest part. There seems to a bun in the back, although it is difficilt to tell with this front view. Japan by the time this portrait was taken had founded a modern school system as part of the Mejii Restoration. We are not sure, however, if this boy attended school. The mere g=fact that he had a portrait made as well as his elegant clothing suggests to us that he came from a wealthy family. Perhaps he had a tutor. He looks to be dress hakama kimono and not an everyday one. Hakama are a kind of long skirt, tied at the waist and fall to the ankles. Hakama are worn over a kimono (hakamashita). They were in the 19th century when this portrait was tken a men's style, but women now also wear hakama. Notice the hakama is done in a solid color, although we do not know what color it may have been. Notice the wooden geta shoes and how high the foot platform was. This is higher than we normally see. Also notice the tabi toe socks. The Japanese did not normally wear the geta shoes without socks. The tabi socks wirn by both genders in the 19th and most of the 20th century were almost always white. The portrait is undated and traditional clothing provides few clues as to the date of the portrait. Traditional styles did not change as much as styles of Western clothing. The dealer belirves it was taken during the mid-Meiji period or in the 1880s. The size is 6 cm x 8.8cm (2.4 in x 3.5 in). The date is possible because Ambrotypes persisted in Japan after they had disappeared in the West. As was common in Japan, the case and frame was wooden.

Matsuda Komataro (1885)

We note a wonderful Anbrotype portrait of Matsuda Komataro who looks ready to sett of for school in 1885. This Japanese Ambrotype portrait is of Matsuda Komataro. Japanese cased portraits were commonly done in wood without guttaperca or leather covers and plush interiors. As a result of the wood, inscriptions are more common than in Western cased photographic portraits. The case herev is inscribed " Taken by WATANABE Tomio living in Kotohira Village ( Ehime Prefecture, Shikoku Island ) on March 7, Meiji 18 (1885) ". The portrait was 5cm x 8.2cm. The boy looks to be about 10 years old. We would guess that the outfit he is wearing is what he wore to school. Note the school book and ruler. In addition to the traditiibnal outfit, note the separated toe socks. I'm not sure what he has on his right hand--perhaps mittens. Maybey it was winter. He does seem to be wearing a wool scarf.

Four Osaka boys (1936)

Figure 1.--This Japanese photo of four unrelated young men (their names are all different in the inscription). We do not read Japanese so we can not make out their names. As their names are different, we assume they are friends. Formal studios portraits klike this were not very common. I supose they could be cousins. The portrait is dated September of Showa 11 (1936), and was shot by Kotobuki photo studio of Osaka. The inscription on the portrait folio apparently has the boys' names.. This Japanese photo of four unrelated young men (their names are all different in the inscription). We do not read Japanese so we can not make out their names. As their names are different, we assume they are friends. Formal studios portraits like this were not very common. I supose they could be cousins. The portrait is dated September of Showa 11 (1936), and was shot by Kotobuki photo studio of Osaka. It is a three-ply over-lapping paper frame folio matting with tissue paper. Having a dated portraits helps us to date undated portraits. The boys seem very informally dressed. One boy even wears a plain "T"shirt. We do not have enough Japanese portraits to know if that was very common. Notice that while three boys are informally dressed, that one boys wears traditional robe. I am not entirely sure how to interpret thst. It could be that social class was involved. Perhaps he found the trafitional gasrment more compfortable or his parents thought it was more suitable for a portrait. Notice the short hair cuts.

National Boy (early-1940s)

I am very pleased to hear that you are preparing a section on the post World War II American occupation of Japan. I was born in 1934 in Tokyo. I and my family were in Tokyo during the American bombing. The terror and destruction were overwealming, just like Dresden. Our house was destroyed by incendiaries and we went to live in a rural village. I think most Japanese were surprised with American occupation policy. I was second son of a publisher. My father was a socialist in pre-World War II Japan but there were strict Government controls. After Japan surrendered and the American occupation began, father enjoyed freedom to publish Marx, Engels, and Lenin under Macarthur's regulations. My memories are somewhat limited because I was only a young child, but you may find them of interest. I will tell you what I remember, both about life in Japan during and after the War.

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Created: 12:08 AM 6/5/2012
Last updated: 12:08 AM 6/5/2012