Human Rights Education: The 4th R, Human Rights Education
and the Arts, vol. 7 No. 1, Winter 1996.

Hellfire — Two Artists’ Journey

“It was the dead of night when we reached Hiroshima Station. I was paralyzed by the sensation that I was about to enter another world. I had the feeling I was looking at something I wasn’t supposed to see.”

—Iri Maruki

World War II brought extreme atrocities and human rights abuses, the most outrageous being the dropping of the atomic bombs. How do people overcome their individual emotions of anger, fear, and hatred to heal? How does a country heal? How does the world heal? Do artists and art play a part in the more abstract issues of social responsibility in this healing process? Should they?

Iri and Toshi Maruki, two Japanese painters, share their personal journey through this process in the 60-minute video “Hellfire A Journey from Hiroshima.” They were resisters to the 1931 Japanese Imperial Army occupation of Manchuria, the 1937 Japanese aggression in China (The Rape of Nanking), and the Pacific War. They witnessed the devastation and human torment of Hiroshima 50 years ago. Their journeys entail the awakening, awareness, and understanding on a higher, universal level; that of responsibility and the unprecedented scope of human violence characterized in the 20th century.

For the three years following the bombings, Iri tried returning to painting landscapes and Toshi to portraits. However, they were unable to forget the images and scenes they witnessed.

“Though we tried to paint with peace and optimism, our paintings were filled with anguish. A darkness emerged on the canvas, even when we didn’t intend it. We realized we would have to confront that darkness.” Toshi Maruki

The contradictions portrayed by the murals are endless; the creativity and affirmation of life enhances one’s awareness to the horrors depicted. Water, a symbol of life, becomes a source of death, as corpses float peacefully in pools. People were painted rather than scenes. However, the people of the first mural are ghost-like. The Marukis’ paintings are beautiful, grotesque, realistic, sentimental, and compelling all at the same time. “It is a dreadful, cruel scene, but I wanted to paint it with kindness,” stated Toshi Maruki. Is this possible? Is art capable of expressing an experience better than any other medium? Does art have the capacity to capture the unconscious mind, which leads to the healing process?

Should national leaders be responsible for the wars their countries wage? As the Marukis say, “If people don’t drop the bomb, it will not fall.” Thus, what is the individual’s role in preventing human rights abuses? Does art influence one’s perspective of these abuses?

“The more we worked on our painting of hell, the more we wondered who should be there. It was clear from the start that Hitler, Truman, and the Japanese emperor belonged in hell. But we discovered that we too are in hell. Why should we endure hell? We didn’t drop the bomb. We haven’t killed anyone. We are in hell because we have been unable to prevent war.” Toshi Maruki

Their personal journey of healing took the Marukis not only back through Hiroshima but forward to paint Nagasaki. They opened their own peace gallery in 1967. After touring the US in 1970 with their murals, they painted “The Death of the American Prisoners of War.” Next, as Japanese citizens they became aware of their own responsibility for Japanese aggression and confronted this in their painting, “The Rape of Nanking.” They followed this with “Auschwitz” and “The Battle of Okinawa.”

Not only did painting enable the Marukis to heal emotionally, it helped them to understand collaboration — the kind that helps resolve conflicts. Iri and Toshi had different styles and approaches to their art. There were many conflicts between them in the early stages of working together. They had to learn to trust each other and become as confident in their joint creations as they were in their own individual art expressions. They had a common experience and a shared vision. They needed to work through diversity of style and conflict to become equal partners and reach consensus.

Their desire not to let the world forget, and their desire for peace and peace education has been translated into a lasting, visual memory. Art is a lasting impression that teaches the following generations of past atrocities.

For more information on obtaining the video and discussion paper, contact Angie Hougas by phone (608-838-6708) or by email .