This paper aims to comprehend the relations between ‘War’ and ‘Propaganda’ of Japan through the history of war propaganda via war paintings(戦争画 ), during the time of The Greater East-Asia War(大東亜戦争). During the time of war, the war propaganda collaborative structure of Japan was a ‘Liminal Organization’ which not only particularly existed in the governmental system, but also executed its policy; moreover, the structure was neither an up-bottom ruling structure unilaterally dominated by military or government nor a mere bottom-up parade initiated by the people. This structure of ‘War Paintings’ induced a series of cultural policies. To keep up the common psychological feeling in the wartime, the government encouraged people to watch those pieces‘viewed by the emperor of Japan’(天覽), along with the arrangement of view position, people would be closely connected to the frontline soldier by watching at the same place as the emperor.