The Invasion of McDonald’s Hamburgers in Japan – Between the Depth of Tradition and Disposable Mediocrity in Masami Teraoka’s Art
Geishas, Fries, Irezumi, Hamburgers
Imagine a world where the hamburger is not merely a meal but a prop in an absurd spectacle of diversity’s decline. Imagine geishas, yakuza irezumi tattoos, and traditional chochin lanterns sharing space with discarded French fry wrappers and paper napkins. Masami Teraoka, an artist raised on the subtle aesthetics of ukiyo-e, collides Japan’s culture with the cold plastic of globalization.
Teraoka is a painter, but he is also a witness, chronicler, and critic of a world straddling two realities—East and West, or more precisely, the depth of classical culture and the shallowness of global cultural homogenization. Drawing inspiration from Japanese woodblock prints and American pop art, Teraoka’s work defies straightforward classification. It is not Warhol, though echoes of the “Hamburger” from 1985 are visible; it is not ukiyo-e, though the details of his kimonos reflect the craftsmanship of Kunisada’s works. His paintings are more like visual haikus of modernity: ironic, provocative, and full of contrasts and tensions.
“McDonald’s Hamburgers Invading Japan” is a visual depiction of musings that ask difficult questions about boundaries, identity, and the future. Teraoka is not merely a guardian of ancient traditions—he himself represents the “in-betweenness” of a man living in both Japan and the United States, overshadowed by McDonald’s golden arches but uncertain whether life without them is still possible.
Can tradition survive in a world hurtling toward uniformity? Can a hamburger and a lantern coexist on the same table? Teraoka does not offer easy answers—in his paintings, we see the clash of cultures that is simultaneously tragic, grotesque, and eerily familiar. Let’s explore the works of the “McDonald’s Hamburgers Invading Japan” series and ponder alongside him: how can we embrace the inevitable while preserving authenticity, depth, and our own identity?
What Is This About?
What Is the Series “McDonald’s Hamburgers Invading Japan”?
Imagine a world where the hamburger becomes not just a meal but a symbol of cultural invasion—a piece of meat in a bun violently piercing the heart of tradition. “McDonald’s Hamburgers Invading Japan”, Masami Teraoka’s series, is a vivid tale of two worlds clashing: American consumerism and Japanese tradition. Created between 1974 and 1975, Teraoka—a product of cultural “in-betweenness” himself—sought to capture on watercolor canvases the moment when Japan confronted globalization’s icon: the golden arches of McDonald’s.
Burgers, fries, and paper wrappers, in his vision, cease to be innocent elements of everyday life. They become weapons, tools of homogenization, endlessly dissolving all boundaries—not just those between tradition and modernity. Inspired by ukiyo-e, Teraoka combines the delicacy of traditional Japanese woodblock prints with provocative irony, creating images that are both beautiful and unsettling. His works are like haikus penned with a sharp, satirical pen—critiques of mass culture served as visual feasts on the plastic tray of traditional ukiyo-e.
Who Is Masami Teraoka?
Born in 1936 in the picturesque seaside town of Onomichi, nestled between Hiroshima and Osaka, Masami Teraoka grew up surrounded by colors and patterns. His family’s kimono shop and his grandmother’s woodblock print collection became his first art museums, shaping his aesthetic sensitivity. In 1961, Teraoka left Japan to study art in the United States, graduating from the Otis Art Institute in Los Angeles.
Teraoka’s work is a unique dialogue between Japanese tradition and Western social critique. He masterfully combines the delicacy of ukiyo-e with elements of pop art and surrealism, creating pieces that comment on contemporary issues: from consumerism to health crises such as the AIDS epidemic. Beyond the famous “McDonald’s Hamburgers Invading Japan” series, he also created “31 Flavors Invading Japan”, where ice cream replaces hamburgers as symbols of American invasion, and the poignant “AIDS Series,” a warning against the consequences of social indifference.
A Bit About the Series “McDonald’s Hamburgers Invading Japan”
In the 1970s, Japan was at the peak of its 20th-century transformation. Amidst the rapid economic growth that elevated it to the top of the global economies, the country grappled with the expansion of American cultural influences. It was during this time, in 1971, that the first McDonald’s restaurant opened in Tokyo—a symbol of global consumerism and simple convenience. This event did not escape the notice of Masami Teraoka, a Japanese artist living in the United States, who saw in it something more than just the introduction of hamburgers to Japanese tables. He perceived the beginning of a larger shift—a gradual homogenization of traditional culture under the pressure of mass production and global corporations.
Teraoka began working on the “McDonald’s Hamburgers Invading Japan” series in 1974, inspired not only by his observations but also by his personal experience of cultural “shock” upon arriving in America. Mixing watercolor techniques with ukiyo-e aesthetics, he created paintings that dazzled with detail and precision while provoking with irony and absurdity. This series became a kind of diary of the East and West collision, a painterly commentary on what happens when two worlds face each other—one represented by refined traditions, the other by paper wrappers and fast food.
This series comprises a cycle of watercolor works that satirically and often grotesquely depict the clash between American consumer culture and Japanese tradition. In Teraoka’s paintings, we see geishas in elegant kimonos, tattoos inspired by the irezumi art form, chopsticks beside hamburgers, and discarded wrappers and fries lying at the feet of women in traditional zori sandals. Every element is meticulously composed to reveal the tension between what is enduring and traditional and what is disposable and mass-produced.
Teraoka employs the aesthetics of ukiyo-e, the traditional Japanese woodblock prints that, during the Edo period, evoked the nostalgia of a fleeting world (mono no aware)—geishas, kabuki, daily life. Yet, instead of nostalgic scenes from the past, the artist introduces contemporary elements: a hamburger clumsily held in hand, fries scattered like litter, or paper napkins—a subtle yet poignant symbol linked to eroticism in Japanese shunga (erotic ukiyo-e). Teraoka treats fast food not just as a culinary phenomenon but as a sign of cultural invasion, altering how people eat, think, and live.
The “McDonald’s Hamburgers Invading Japan” series also reflects the evolution of the artist himself. It is here that Teraoka began to merge his experiences as a man living between two worlds—Japan and America—creating works that both celebrate diversity and warn against the loss of identity in an increasingly globalized world. These paintings, while at times humorous, carry a profound message about cultural change and the price we pay for convenience.
Geisha and the Tattooed Woman
- Masami Teraoka, 1975
In this painting, we see a scene that feels like a fragment of a story about two women from different worlds who find themselves in the same place, confronting their choices. On the left, a geisha dressed in an elegant kimono adorned with subtle patterns stands within a decorative circle. This circle, stylized as traditional decorative frames, evokes both classic patterns of Japanese art and motifs seen in byōbu (folding screens). It might symbolize cultural boundaries or the confinement of the geisha in a world that was once natural for her but is becoming increasingly alien.
In one hand, she holds a hamburger, seemingly as out of place as it could be, and in the other, a crumpled paper napkin—a subtle symbol which, in traditional Japanese shunga art, refers to the completion of an erotic act. On the right side is the central figure of the painting: a tattooed woman with long blond hair, her body covered with intricate irezumi tattoos (primarily associated with Japanese yakuza - see more here: Irezumi: The Japanese Art of Ukiyo-e Masters in Yakuza Tattooing). Her long, almost snake-like tongue grotesquely hangs as she leans over a bowl of Japanese ramen, clumsily holding chopsticks. Her tattooed "sleeves," filled with floral motifs, allude to the traditional Japanese concept of impermanence, mono no aware. The table holds additional details: a chopstick rest shaped like a fish, a bowl with sauce (mustard?), and a few stray noodles scattered about.
This painting is full of contrasts—the geisha symbolizes Japan’s traditional, refined beauty, while the tattooed woman represents transgression and rebellion. However, both characters seem equally lost in a world where cultural norms have been disrupted, and the ensuing chaos leaves no one with a clear path. The geisha, holding the hamburger in her hand, seems to ask, “How am I supposed to eat this?” (or perhaps, “How am I supposed to live?”), highlighting not only her unfamiliarity with Western food but also the broader challenge of adapting traditional values to contemporary life. Meanwhile, the tattooed woman, who ostensibly adapts better to this hybrid reality, does so sloppily and chaotically, as if unsure of her own choices.
Philosophically, the painting reflects the concept of "in-betweenness"—the state of being between two cultures, which Teraoka experienced firsthand. The geisha and the tattooed woman are two sides of the same coin: one embodies nostalgia for the past, while the other represents a future that does not necessarily promise stability. Even when the future draws from tradition, it does so clumsily. Their coexistence on the same canvas suggests that neither complete immersion in tradition nor full adoption of modernity provides the answer. Both figures are in a process of cultural "translation," unsure of what to leave behind and what to embrace as new and "good."
Artistically, Teraoka combines the ukiyo-e aesthetic with contemporary elements, giving the painting a disquieting depth. The yakuza tattoos draw on traditional motifs, but their intensity and placement on a Western woman make them seem out of place, inauthentic, and forced.
In the background of the painting, there is calligraphy written in the sōsho ("grass") style, characterized by its free-flowing, fluid brushstrokes. This text is an integral part of the work, introducing a humorous yet tense dialogue between the two figures. The tattooed woman declares her intention to eat her soup, disregarding conventions, while the geisha hesitantly wonders how to approach eating a hamburger—a seemingly trivial question that symbolizes the cultural confusion she finds herself in.
In an interview, Teraoka mentioned that the style of the dialogue was inspired by the kabuki libretto Amagasaki no Dan (尼崎の段). He explained that his goal was to reference classic narrative forms, such as those found in kabuki, but with a modern and ironic message. Thus, the calligraphy in the painting becomes a complement to the cultural mishmash of Western modernity and traditional "Japaneseness," enhancing both the theatrical character of the work and its critique of globalization.
Chochin-me
提灯目
- Masami Teraoka, 1982
In the painting Chochin-me, we see a single figure, whose legs and lower body are depicted in a style inspired by ukiyo-e. The figure, dressed in an elegant, traditional, and richly decorated kimono, is visible only from the knees down, standing on traditional wooden geta sandals. At her feet lies a discarded hamburger, and slightly above it is a chochin (a traditional Japanese paper lantern), which the figure is carrying. The lantern—a symbol of Japanese culture—represents spirituality and a return to roots during rituals like Obon, while the hamburger symbolizes Western consumer culture and disposability. The scene focuses on the subtle tension between these two objects, metaphorically depicting the clash of two worlds.
The title Chochin-me can be translated as “Lantern Eye” or “The Gaze of the Lantern.” The word chochin refers to paper lanterns traditionally used in Japan during ceremonies and festivals, symbolizing light, guidance, and spiritual presence. The second part, me (目), means “eye” or “gaze,” which might suggest a reflective observation of the contrast between tradition and modernity. The lantern seems to “look” at the hamburger—a foreign intruder—with symbolic scrutiny, as though assessing its place in Japanese culture.
In this piece, Teraoka once again blends traditional ukiyo-e aesthetics with contemporary critique. The lantern, with its delicate structure and bright light, contrasts with the crudeness of the hamburger. The choice to depict only the lower part of the figure is deliberate, allowing the viewer to focus on details such as the kimono’s patterns and the texture of the geta sandals, which evoke the richness of Japanese craftsmanship. At the same time, the discarded hamburger and its packaging introduce an element of chaos and pollution, disrupting the harmony of the composition.
Chochin-me reflects on the impact of globalization on spirituality and daily life in Japan. The lantern symbolizes not only tradition but also a guiding light from the past, which collides with the “dark” aspects of consumerist modernity represented by the hamburger. The discarded fast food points to the transient nature of imported throwaway culture, while the lantern reminds us of the enduring and deep roots of tradition. Teraoka provokes the question: Can Western influences ever be fully integrated into Japan, or will they always remain foreign? This painting captures the subtle tension between the attempt to adapt and the need to preserve authenticity.
Self-Portrait
- Masami Teraoka, 1974
In Self-Portrait, Masami Teraoka portrays himself in a dynamic scene filled with expression and symbolism. The artist, dressed in a traditional Japanese haori coat, occupies the center of the composition, striking a gesture reminiscent of historical ukiyo-e depictions of samurai or kabuki actors. He hurls a hamburger into the air, which bursts apart mid-flight. The hamburger disintegrates into its individual components—lettuce, bun, patty, tomato, fries—all the symbols of Western consumer culture breaking into chaos. The expression on the artist’s face is one of determination, and his vigorous gesture serves as a clear statement of rejection.
Self-Portrait is rich in symbols and visual references to traditional Japanese ukiyo-e art. The haori worn by Teraoka is adorned with subtle patterns that evoke the craftsmanship of Japanese artisans. Simultaneously, the dynamic scene, use of bright colors, and bold outlines draw on the aesthetics of pop art, which influenced Teraoka during his career in the United States. The hamburger, the chaotic focal point, is depicted with exaggerated precision. The composition mirrors the conflict between order and disorder, culture and consumerism.
Self-Portrait is an autobiographical piece. Teraoka portrays himself as an artist “at a crossroads”—between Japan and the West, tradition and modernity. The hamburger, as a symbol of Western culture, literally “attacks” him, representing the seductive yet repellent nature of assimilating foreign culture. His evasive gesture expresses not only physical disgust but also a metaphorical rejection of homogenization and the loss of cultural identity.
In this work, Teraoka also reflects on his position as an artist navigating “in-betweenness,” straddling two cultures. Self-Portrait raises the question of whether it is possible to preserve one’s identity in a globalized world or whether one is destined for constant clashes with modern intrusions seeking to dominate tradition.
The Meaning of the Series
Through the series McDonald’s Hamburgers Invading Japan, Masami Teraoka takes us on a journey into a world where tradition meets cultural upheaval. His paintings are not only surprising juxtapositions but also a commentary on homogenization—a phenomenon the artist experienced firsthand, witnessing the golden arches of McDonald’s appearing in a culture so far removed from them. In interviews, Teraoka expressed despair when he first saw a hamburger in Tokyo: a symbol of mass-produced, impoverished food against a backdrop of a culture that prides itself on culinary finesse and aesthetic care. Can a world as complex as Japan be reduced to disposable fry cartons?
Teraoka’s inspirations are a fascinating mix: deeply rooted in ukiyo-e tradition yet drawing heavily from pop art. Andy Warhol and Claes Oldenburg—two titans of American art—shaped his perspective on the world of consumption. Warhol celebrated excess, replicating images of Campbell’s soup cans or Coca-Cola bottles; Teraoka uses this language to scream about the loss of diversity. His hamburger is not a soft, absurd sculpture like Oldenburg’s but a weapon of chaos, a threat disrupting the world like an intruder in a traditional Japanese home. For Teraoka, pop art is not a model to emulate but a weapon against the apocalypse of consumerism.
Through his works, corporations become akin to the mighty shoguns of globalization—their banners are billboards, their armor is plastic packaging, and their weaponry is marketing. Teraoka’s paintings challenge the myth of the innocent hamburger—a simple street food—revealing it as a symbol of the destruction of local cultures. In his vision, the hamburger is more than a sandwich; it is an act of domination, colonization of both the plate and the mind. Fast food culture brings haste, mediocrity, and indifference to places where harmony once reigned. As a result, we see the clash of two worlds: one that celebrates impermanence and another that denies the passage of time—plastic, eternal in its wasteful persistence.
The philosophical message of the series is bitter yet provocative: Does globalization have to mean loss? Is there still room in this new world for reflection, beauty, and a deeper identity? Teraoka paints these questions onto his canvases—offering no easy answers but compelling us to look into a mirror where we see both the light of the lantern and the shadows of a fast-food paper bag.
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未開 ソビエライ
An enthusiast of Asian culture with a deep appreciation for the diverse philosophies of the world. By education, a psychologist and philologist specializing in Korean studies. At heart, a programmer (primarily for Android) and a passionate technology enthusiast, as well as a practitioner of Zen and mono no aware. In moments of tranquility, adheres to a disciplined lifestyle, firmly believing that perseverance, continuous personal growth, and dedication to one's passions are the wisest paths in life. Author of the book "Strong Women of Japan" (>>see more)
Personal motto:
"The most powerful force in the universe is compound interest." - Albert Einstein (probably)
Mike Soray
(aka Michał Sobieraj)
未開 ソビエライ
An enthusiast of Asian culture with a deep appreciation for the diverse philosophies of the world. By education, a psychologist and philologist specializing in Korean studies. At heart, a programmer (primarily for Android) and a passionate technology enthusiast, as well as a practitioner of Zen and mono no aware. In moments of tranquility, adheres to a disciplined lifestyle, firmly believing that perseverance, continuous personal growth, and dedication to one's passions are the wisest paths in life. Author of the book "Strong Women of Japan" (>>see more)
Personal motto:
"The most powerful force in the universe is compound interest." - Albert Einstein (probably)
Mike Soray
(aka Michał Sobieraj)
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