Ono is a prime example of how he turns away from being a successful artist under the tutelage of his master, Mori-San, to being the one who produces art in service of his nation. He aligns himself and his art with the ruling power, Imperial Japan, in producing such art contrary to his profession as an artist. Ono had started off as an artist of the school of art for art’s sake, “of the floating world”, but with the passage of time he drifts to the propagandist one. He turns away from being “an artist of the floating world” of his master Mori-San, a world of “pleasure”, of “beauty”, of “a decadent and enclosed world”, to what he defines as “a progress” to the more “tangible” world, the real world, that the “troubled times” need (Ishiguro, 1986, p. 103). His transition from the former to the latter is characterised by what he calls “the new patriotic spirit emerging in Japan” in his petition to the authorities for the establishing of Migi-Hidari, a bar, he adds, where the “city’s artists and writers whose works most reflect the new spirit can gather and drink together” (Ishiguro, 1986, p. 36). What task they had, he tells them after its establishment, was that as “a new generation of Japanese artists, you have a great responsibility towards the culture of this nation” (1986, p. 86). To this end, he even gets his pupil, Kuroda, arrested for being a “traitor” by not aligning with the concept of art Imperial Japan had defined as proper, because the Imperial “policy [is] to destroy any offensive material” (1986, pp. 65, 104). Ono learns that Kuroda had been “hostile to my memory” as suggested by the tone of Kuroda’s pupil, Enchi (1986, p. 65). Why was he hostile to him is because it is Ono “on whose information” Kuroda had been arrested for paintings that are described as the “Unpatriotic trash” (1986, p. 104). The officers who arrest him than Ono for “his help” (1986, p. 104).