Japanese art covers a wide range of art styles and media, including ancient pottery, sculpture, ink painting and calligraphy on silk and paper, ukiyo-e paintings and woodblock prints, kirigami, origami, dorodango, and more recently manga—modern Japanese cartooning and comics—along with a myriad of other types of works of art. It has a long history, ranging from the beginnings of human habitation in Japan, sometime in the 10th millennium BC, to the present.
Japan has been subject to sudden invasions of new and strange ideas followed by long periods of minimal contact with the outside world. Over time the Japanese developed the ability to absorb, imitate, and finally assimilate those elements of foreign culture that complemented their aesthetic preferences. The earliest complex art in Japan was produced in the 7th and 8th centuries in connection with Buddhism. In the 9th century, as the Japanese began to turn away from China and develop indigenous forms of expression, the secular arts became increasingly important; until the late 15th century, both religious and secular arts flourished. After the Ōnin War (1467–1477), Japan entered a period of political, social, and economic disruption that lasted for over a century. In the state that emerged under the leadership of the Tokugawa shogunate, organized religion played a much less important role in people's lives, and the arts that survived were primarily secular.
Painting is the preferred artistic expression in Japan, practiced by amateurs and professionals alike. Until modern times, the Japanese wrote with a brush rather than a pen, and their familiarity with brush techniques has made them particularly sensitive to the values and aesthetics of painting. With the rise of popular culture in the Edo period, a style of woodblock prints became a major form and its techniques were fine tuned to produce colorful prints. The Japanese, in this period, found sculpture a much less sympathetic medium for artistic expression; most Japanese sculpture is associated with religion, and the medium's use declined with the lessening importance of traditional Buddhism.
Japanese ceramics are among the finest in the world and include the earliest known artifacts of their culture. In architecture, Japanese preferences for natural materials and an interaction of interior and exterior space are clearly expressed.
History of Japanese art
The first settlers of Japan, the Jōmon people (c. 11000 – c. 300 BC), named for the cord markings that decorated the surfaces of their clay vessels, were nomadic hunter-gatherers who later practiced organized farming and built cities with populations of hundreds if not thousands. They built simple houses of wood and thatch set into shallow earthen pits to provide warmth from the soil. They crafted lavishly decorated pottery storage vessels, clay figurines called dogū, and crystal jewels.
The next wave of immigrants was the Yayoi people, named for the district in Tokyo where remnants of their settlements first were found. These people, arriving in Japan about 350 BC, brought their knowledge of wetland rice cultivation, the manufacture of copper weapons and bronze bells (dōtaku), and wheel-thrown, kiln-fired ceramics.
The third stage in Japanese prehistory, the Kofun period (c. 250 – 552 AD), represents a modification of Yayoi culture, attributable either to internal development or external force. The period is named for the large number of kofunmegalithic tombs created during this period. In this period, diverse groups of people formed political alliances and coalesced into a nation. Typical artifacts are bronze mirrors, symbols of political alliances, and clay sculptures called haniwa which were erected outside tombs.
Asuka and Nara art
During the Asuka and Nara periods, so named because the seat of Japanese government was located in the Asuka Valley from 552 to 710 and in the city of Nara until 784, the first significant influx of continental Asian culture took place in Japan.
The transmission of Buddhism provided the initial impetus for contacts between China, Korea and Japan. The Japanese recognized the facets of Chinese culture that could profitably be incorporated into their own: a system for converting ideas and sounds into writing; historiography; complex theories of government, such as an effective bureaucracy; and, most important for the arts, new technologies, new building techniques, more advanced methods of casting in bronze, and new techniques and media for painting.
Throughout the 7th and 8th centuries, however, the major focus in contacts between Japan and the Asian continent was the development of Buddhism. Not all scholars agree on the significant dates and the appropriate names to apply to various time periods between 552, the official date of the introduction of Buddhism into Japan, and 784, when the Japanese capital was transferred from Nara. The most common designations are the Suiko period, 552–645; the Hakuhō period, 645–710, and the Tenpyō period, 710–784.
The earliest Japanese sculptures of the Buddha are dated to the 6th and 7th century. They ultimately derive from the 1st- to 3rd-century AD Greco-Buddhist art of Gandhara, characterized by flowing dress patterns and realistic rendering, on which Chinese and Korean artistic traits were superimposed. After the Chinese Northern Wei buddhist art had infiltrated a Korean peninsula, Buddhist icons were brought to Japan by Various immigrant groups. Particularly, the semi-seated Maitreya form was adapted into a highly developed Ancient Greek art style which was transmitted to Japan as evidenced by the Kōryū-jiMiroku Bosatsu and the Chūgū-jiSiddhartha statues. Many historians portray Korea as a mere transmitter of Buddhism. The Three Kingdoms, and particularly Baekje, were instrumental as active agents in the introduction and formation of a Buddhist tradition in Japan in 538 or 552. They illustrate the terminal point of the Silk Road transmission of art during the first few centuries of our era. Other examples can be found in the development of the iconography of the Japanese Fūjin Wind God, the Niō guardians, and the near-Classical floral patterns in temple decorations.
The earliest Buddhist structures still extant in Japan, and the oldest wooden buildings in the Far East are found at the Hōryū-ji to the southwest of Nara. First built in the early 7th century as the private temple of Crown Prince Shōtoku, it consists of 41 independent buildings. The most important ones, the main worship hall, or Kondō (Golden Hall), and Gojū-no-tō (Five-story Pagoda), stand in the center of an open area surrounded by a roofed cloister. The Kondō, in the style of Chinese worship halls, is a two-story structure of post-and-beam construction, capped by an irimoya, or hipped-gabled roof of ceramic tiles.
Inside the Kondō, on a large rectangular platform, are some of the most important sculptures of the period. The central image is a Shaka Trinity (623), the historical Buddha flanked by two bodhisattvas, sculpture cast in bronze by the sculptor Tori Busshi (flourished early 7th century) in homage to the recently deceased Prince Shōtoku. At the four corners of the platform are the Guardian Kings of the Four Directions, carved in wood around 650. Also housed at Hōryū-ji is the Tamamushi Shrine, a wooden replica of a Kondō, which is set on a high wooden base that is decorated with figural paintings executed in a medium of mineral pigments mixed with lacquer.
Temple building in the 8th century was focused around the Tōdai-ji in Nara. Constructed as the headquarters for a network of temples in each of the provinces, the Tōdaiji is the most ambitious religious complex erected in the early centuries of Buddhist worship in Japan. Appropriately, the 16.2-m (53-ft) Buddha (completed 752) enshrined in the main Buddha hall, or Daibutsuden, is a Rushana Buddha, the figure that represents the essence of Buddhahood, just as the Tōdaiji represented the center for Imperially sponsored Buddhism and its dissemination throughout Japan. Only a few fragments of the original statue survive, and the present hall and central Buddha are reconstructions from the Edo period.
Clustered around the Daibutsuden on a gently sloping hillside are a number of secondary halls: the Hokke-dō (Lotus Sutra Hall), with its principal image, the FukukenjakuKannon (不空羂索観音立像, the most popular bodhisattva), crafted of dry lacquer (cloth dipped in lacquer and shaped over a wooden armature); the Kaidanin (戒壇院, Ordination Hall) with its magnificent clay statues of the Four Guardian Kings; and the storehouse, called the Shōsōin. This last structure is of great importance as an art-historical cache, because in it are stored the utensils that were used in the temple's dedication ceremony in 752, the eye-opening ritual for the Rushana image, as well as government documents and many secular objects owned by the Imperial family.
Choukin (or chōkin), the art of metal engraving or sculpting, is thought to have started in the Nara period.
In 794 the capital of Japan was officially transferred to Heian-kyō (present-day Kyoto), where it remained until 1868. The term Heian period refers to the years between 794 and 1185, when the Kamakura shogunate was established at the end of the Genpei War. The period is further divided into the early Heian and the late Heian, or Fujiwara era, the pivotal date being 894, the year imperial embassies to China were officially discontinued.
Early Heian art: In reaction to the growing wealth and power of organized Buddhism in Nara, the priest Kūkai (best known by his posthumous title Kōbō Daishi, 774–835) journeyed to China to study Shingon, a form of Vajrayana Buddhism, which he introduced into Japan in 806. At the core of Shingon worship are mandalas, diagrams of the spiritual universe, which then began to influence temple design. Japanese Buddhist architecture also adopted the stupa, originally an Indian architectural form, in its Chinese-style pagoda.
The temples erected for this new sect were built in the mountains, far away from the Court and the laity in the capital. The irregular topography of these sites forced Japanese architects to rethink the problems of temple construction, and in so doing to choose more indigenous elements of design. Cypress-bark roofs replaced those of ceramic tile, wood planks were used instead of earthen floors, and a separate worship area for the laity was added in front of the main sanctuary.
The temple that best reflects the spirit of early Heian Shingon temples is the Murō-ji (early 9th century), set deep in a stand of cypress trees on a mountain southeast of Nara. The wooden image (also early 9th century) of Shakyamuni, the "historic" Buddha, enshrined in a secondary building at the Murō-ji, is typical of the early Heian sculpture, with its ponderous body, covered by thick drapery folds carved in the honpa-shiki (rolling-wave) style, and its austere, withdrawn facial expression.
Fujiwara art: In the Fujiwara period, Pure Land Buddhism, which offered easy salvation through belief in Amida (the Buddha of the Western Paradise), became popular. This period is named after the Fujiwara family, then the most powerful in the country, who ruled as regents for the Emperor, becoming, in effect, civil dictators. Concurrently, the Kyoto nobility developed a society devoted to elegant aesthetic pursuits. So secure and beautiful was their world that they could not conceive of Paradise as being much different. They created a new form of Buddha hall, the Amida hall, which blends the secular with the religious, and houses one or more Buddha images within a structure resembling the mansions of the nobility.
The Hō-ō-dō (Phoenix Hall, completed 1053) of the Byōdō-in, a temple in Uji to the southeast of Kyoto, is the exemplar of Fujiwara Amida halls. It consists of a main rectangular structure flanked by two L-shaped wing corridors and a tail corridor, set at the edge of a large artificial pond. Inside, a single golden image of Amida (c. 1053) is installed on a high platform. The Amida sculpture was executed by Jōchō, who used a new canon of proportions and a new technique (yosegi), in which multiple pieces of wood are carved out like shells and joined from the inside. Applied to the walls of the hall are small relief carvings of celestials, the host believed to have accompanied Amida when he descended from the Western Paradise to gather the souls of believers at the moment of death and transport them in lotus blossoms to Paradise. Raigō paintings on the wooden doors of the Hō-ō-dō, depicting the Descent of the Amida Buddha, are an early example of Yamato-e, Japanese-style painting, and contain representations of the scenery around Kyoto.
E-maki: In the last century of the Heian period, the horizontal, illustrated narrative handscroll, known as e-maki (絵巻, lit. "picture scroll"), came to the fore. Dating from about 1130, the Genji Monogatari Emaki, a famous illustrated Tale of Genji represents the earliest surviving yamato-e handscroll, and one of the high points of Japanese painting. Written about the year 1000 by Murasaki Shikibu, a lady-in-waiting to the Empress Akiko, the novel deals with the life and loves of Genji and the world of the Heian court after his death. The 12th-century artists of the e-maki version devised a system of pictorial conventions that convey visually the emotional content of each scene. In the second half of the century, a different, livelier style of continuous narrative illustration became popular. The Ban Dainagon Ekotoba (late 12th century), a scroll that deals with an intrigue at court, emphasizes figures in active motion depicted in rapidly executed brush strokes and thin but vibrant colors.
E-maki also serve as some of the earliest and greatest examples of the otoko-e ("men's pictures") and onna-e ("women's pictures") styles of painting. There are many fine differences in the two styles, appealing to the aesthetic preferences of the genders. But perhaps most easily noticeable are the differences in subject matter. Onna-e, epitomized by the Tale of Genji handscroll, typically deals with court life, particularly the court ladies, and with romantic themes. Otoko-e often recorded historical events, particularly battles. The Siege of the Sanjō Palace (1160), depicted in the "Night Attack on the Sanjō Palace" section of the Heiji Monogatari handscroll is a famous example of this style.
In 1180 a war broke out between the two most powerful warrior clans, the Taira and the Minamoto; five years later the Minamoto emerged victorious and established a de facto seat of government at the seaside village of Kamakura, where it remained until 1333. With the shift of power from the nobility to the warrior class, the arts had to satisfy a new audience: men devoted to the skills of warfare, priests committed to making Buddhism available to illiterate commoners, and conservatives, the nobility and some members of the priesthood who regretted the declining power of the court. Thus, realism, a popularizing trend, and a classical revival characterize the art of the Kamakura period. In the Kamakura period, Kyoto and Nara remained the centres of artistic production and high culture.
Sculpture: The Kei school of sculptors, particularly Unkei, created a new, more realistic style of sculpture. The two Niō guardian images (1203) in the Great South Gate of the Tōdai-ji in Nara illustrate Unkei's dynamic supra-realistic style. The images, about 8 m (about 26 ft) tall, were carved of multiple blocks in a period of about three months, a feat indicative of a developed studio system of artisans working under the direction of a master sculptor. Unkei's polychromed wood sculptures (1208, Kōfuku-ji, Nara) of two Indian sages, Muchaku and Seshin, the legendary founders of the Hossō sect, are among the most accomplished realistic works of the period; as rendered by Unkei, they are remarkably individualized and believable images. One of the most famous works of this period is an Amitabha Triad (completed in 1195), in Jōdo-ji in Ono, created by Kaikei, Unkei's successor.
Calligraphy and painting: The Kegon Engi Emaki, the illustrated history of the founding of the Kegon sect, is an excellent example of the popularizing trend in Kamakura painting. The Kegon sect, one of the most important in the Nara period, fell on hard times during the ascendancy of the Pure Land sects. After the Genpei War (1180–1185), Priest Myōe of Kōzan-ji sought to revive the sect and also to provide a refuge for women widowed by the war. The wives of samurai had been discouraged from learning more than a syllabary system for transcribing sounds and ideas (see kana), and most were incapable of reading texts that employed Chinese ideographs (kanji).
Thus, the Kegon Engi Emaki combines passages of text, written with a maximum of easily readable syllables, and illustrations that have the dialogue between characters written next to the speakers, a technique comparable to contemporary comic strips. The plot of the e-maki, the lives of the two Korean priests who founded the Kegon sect, is swiftly paced and filled with fantastic feats such as a journey to the palace of the Ocean King, and a poignant mom story.[clarification needed]
A work in a more conservative vein is the illustrated version of Murasaki Shikibu's diary. E-maki versions of her novel continued to be produced, but the nobility, attuned to the new interest in realism yet nostalgic for past days of wealth and power, revived and illustrated the diary in order to recapture the splendor of the author's times. One of the most beautiful passages illustrates the episode in which Murasaki Shikibu is playfully held prisoner in her room by two young courtiers, while, just outside, moonlight gleams on the mossy banks of a rivulet in the imperial garden.
Main article: Higashiyama period
During the Muromachi period (1338–1573), also called the Ashikaga period, a profound change took place in Japanese culture. The Ashikaga clan took control of the shogunate and moved its headquarters back to Kyoto, to the Muromachi district of the city. With the return of government to the capital, the popularizing trends of the Kamakura period came to an end, and cultural expression took on a more aristocratic, elitist character. Zen Buddhism, the Ch'an sect traditionally thought to have been founded in China in the 6th century, was introduced for a second time into Japan and took root.
Painting: Because of secular ventures and trading missions to China organized by Zen temples, many Chinese paintings and objects of art were imported into Japan and profoundly influenced Japanese artists working for Zen temples and the shogunate. Not only did these imports change the subject matter of painting, but they also modified the use of color; the bright colors of Yamato-e yielded to the monochromes of painting in the Chinese manner, where paintings generally only have black and white or different tones of a single color.
Typical of early Muromachi painting is the depiction by the priest-painter Kao (active early 15th century) of the legendary monk Kensu (Hsien-tzu in Chinese) at the moment he achieved enlightenment. This type of painting was executed with quick brush strokes and a minimum of detail. Catching a Catfish with a Gourd (early 15th century, Taizō-in, Myōshin-ji, Kyoto), by the priest-painter Josetsu (active c. 1400), marks a turning point in Muromachi painting. Executed originally for a low-standing screen, it has been remounted as a hanging scroll with inscriptions by contemporary figures above, one of which refers to the painting as being in the "new style". In the foreground a man is depicted on the bank of a stream holding a small gourd and looking at a large slithery catfish. Mist fills the middle ground, and the background mountains appear to be far in the distance. It is generally assumed that the "new style" of the painting, executed about 1413, refers to a more Chinese sense of deep space within the picture plane.
The foremost artists of the Muromachi period are the priest-painters Shūbun and Sesshū. Shūbun, a monk at the Kyoto temple of Shōkoku-ji, created in the painting Reading in a Bamboo Grove (1446) a realistic landscape with deep recession into space. Sesshū, unlike most artists of the period, was able to journey to China and study Chinese painting at its source. Landscape of the Four Seasons (Sansui Chokan; c. 1486) is one of Sesshu's most accomplished works, depicting a continuing landscape through the four seasons.
In the Azuchi–Momoyama period (1573–1603), a succession of military leaders, such as Oda Nobunaga, Toyotomi Hideyoshi, and Tokugawa Ieyasu, attempted to bring peace and political stability to Japan after an era of almost 100 years of warfare. Oda, a minor chieftain, acquired power sufficient to take de facto control of the government in 1568 and, five years later, to oust the last Ashikaga shogun. Hideyoshi took command after Oda's death, but his plans to establish hereditary rule were foiled by Ieyasu, who established the Tokugawa shogunate in 1603.
Painting: The most important school of painting in the Momoyama period was that of the Kanō school, and the greatest innovation of the period was the formula, developed by Kanō Eitoku, for the creation of monumental landscapes on the sliding doors enclosing a room. The decoration of the main room facing the garden of the Jukō-in, a subtemple of Daitoku-ji (a Zen temple in Kyoto), is perhaps the best extant example of Eitoku's work. A massive ume tree and twin pines are depicted on pairs of sliding screens in diagonally opposite corners, their trunks repeating the verticals of the corner posts and their branches extending to left and right, unifying the adjoining panels. Eitoku's screen, 'Chinese Lions', also in Kyoto, reveals the bold, brightly colored style of painting preferred by the samurai.
Hasegawa Tōhaku, a contemporary of Eitoku, developed a somewhat different and more decorative style for large-scale screen paintings. In his Maple Screen (楓図), now in the temple of Chishaku-in (ja:智積院), Kyoto, he placed the trunk of the tree in the center and extended the limbs nearly to the edge of the composition, creating a flatter, less architectonic work than Eitoku, but a visually gorgeous painting. His sixfold screen, Pine Wood (松林図), is a masterly rendering in monochrome ink of a grove of trees enveloped in mist.
Art of the Edo period
The Tokugawa shogunate gained undisputed control of the government in 1603 with a commitment to bring peace and economic and political stability to the country; in large measure it was successful. The shogunate survived until 1867, when it was forced to capitulate because of its failure to deal with pressure from Western nations to open the country to foreign trade. One of the dominant themes in the Edo period was the repressive policies of the shogunate and the attempts of artists to escape these strictures. The foremost of these was the closing of the country to foreigners and the accoutrements of their cultures, and the imposition of strict codes of behavior affecting every aspect of life, the clothes one wore, the person one married, and the activities one could or should not pursue.
In the early years of the Edo period, however, the full impact of Tokugawa policies had not yet been felt, and some of Japan's finest expressions in architecture and painting were produced: Katsura Palace in Kyoto and the paintings of Tawaraya Sōtatsu, pioneer of the Rinpa school.
Architecture:Katsura Detached Palace, built in imitation of Genji's palace, contains a cluster of shoin buildings that combine elements of classic Japanese architecture with innovative restatements. The whole complex is surrounded by a beautiful garden with paths for walking. Many of powerful daimyōs (feudal lords) built a Circuit style Japanese garden in the territory country, and competed for the beauty.
Painting: Sōtatsu evolved a superb decorative style by re-creating themes from classical literature, using brilliantly colored figures and motifs from the natural world set against gold-leaf backgrounds. One of his finest works is the pair of screens The Waves at Matsushima in the Freer Gallery in Washington, D.C. A century later, Kōrin reworked Sōtatsu's style and created visually gorgeous works uniquely his own. Perhaps his finest are the screen paintings of Red and White Plum Blossoms.
Sculpture The Buddhist monk Enkū carved 120,000 Buddhist images in a rough, individual style.
Ukiyo-e and Bunjinga: The school of art best known in the West is that of the ukiyo-e paintings and woodblock prints of the demimonde, the world of the kabuki theater and the pleasure districts. Ukiyo-e prints began to be produced in the late 17th century; in 1765 Harunobu produced the first polychrome print. Print designers of the next generation, including Torii Kiyonaga and Utamaro, created elegant and sometimes insightful depictions of courtesans.
In the 19th century the dominant figures were Hokusai and Hiroshige, the latter a creator of romantic and somewhat sentimental landscape prints. The odd angles and shapes through which Hiroshige often viewed landscape, and the work of Kiyonaga and Utamaro, with its emphasis on flat planes and strong linear outlines, had a profound impact on such Western artists as Edgar Degas and Vincent van Gogh. Via artworks held in Western museums, these same printmakers would later exert a powerful influence on the imagery and aesthetic approaches used by early Modernist poets such as Ezra Pound, Richard Aldington and H.D.
A school of painting contemporary with ukiyo-e was Nanga, or Bunjinga, a style based on paintings executed by Chinese scholar-painters. Just as ukiyo-e artists chose to depict figures from life outside the strictures of the Tokugawa shogunate, Bunjin artists turned to Chinese culture. The exemplars of this style are Ike no Taiga, Yosa Buson, Tanomura Chikuden, and Yamamoto Baiitsu (ja:山本梅逸).
Art of the Prewar period
When Emperor of Japan regained ruling power in 1868, Japan was once again invaded by new and alien forms of culture. During the Prewar period, The introduction of Western cultural values led to a dichotomy in Japanese art, as well as in nearly every other aspect of culture, between traditional values and attempts to duplicate and assimilate a variety of clashing new ideas. This split remained evident in the late 20th century, although much synthesis had by then already occurred, and created an international cultural atmosphere and stimulated contemporary Japanese arts toward ever more innovative forms.
By the early 20th century, European art forms were well introduced and their marriage produced notable buildings like the Tokyo Train Station and the National Diet Building that still exist today.
A lot of artistic new Japanese gardens were built with Jihei Ogawa.
Manga cartoons flourished the Meiji period, influenced greatly by English and French political cartoons. However, some art popular in the Meiji era, such as jōge-e (reversible images), is no longer popular in modern Japan.
Architecture:Tokyo Station, a building of Giyōfū architecture, full of bricks and pseudo-European style. This style of building was built in urban areas.
Painting: The first response of the Japanese to Western art forms was open-hearted acceptance, and in 1876 the Technological Art School was opened, employing Italian instructors to teach Western methods. The second response was a pendulum swing in the opposite direction spearheaded by Okakura Kakuzō and the American Ernest Fenollosa, who encouraged Japanese artists to retain traditional themes and techniques while creating works more in keeping with contemporary taste. This was a strategy that eventually served to extend the influence of Japanese art as far as Calcutta, London, and Boston in the years leading up to World War I. Out of these two poles of artistic theory—derived from Europe and from East Asia respectively—developed yōga ("Western-style painting") and Nihonga ("Japanese painting"), categories that have maintained currency.
Art of the Postwar period
After the end of World War II in 1945, many artists began working art forms derived from the international scene, moving away from local artistic developments into the mainstream of world art. But traditional Japanese conceptions endured, particularly in the use of modular space in architecture, certain spacing intervals in music and dance, a propensity for certain color combinations and characteristic literary forms.
Art from 1603 to 1945 (Edo period and Prewar period) were supported by merchants. Counter to Edo period and Prewar period, art of Postwar period was changed to the art which is supported by people as consumers. The wide variety of art forms available to the Japanese reflect the vigorous state of the arts, widely supported by the Japanese people and promoted by the government. In the 1950s and 1960s, Japan's artistic avant garde include the internationally influential Gutai group, which originated or anticipated various postwar genres such as performance art, installation art, conceptual art, and wearable art. In photography, Kansuke Yamamoto was prominent.
American art and architecture greatly influenced Japan. Though fear of earthquakes severely restricted the building of a skyscraper, technological advances let Japanese build larger and higher buildings with more artistic outlooks.
As Japan has always made little distinction between 'fine art' and 'decorative art', as the West has done since the Renaissance, it is important to note Japan's significant and unique contributions to the fields of art in entertainment, commercial uses, and graphic design. Cartoons imported from America led to anime that at first were derived exclusively from manga stories. Today, anime abounds, and many artists and studios have risen to great fame as artists; Hayao Miyazaki and the artists and animators of Studio Ghibli are generally regarded to be among the best the anime world has to offer. Japan also flourishes in the fields of graphic design, commercial art (e.g. billboards, magazine advertisements), and in video game graphics and concept art.
Contemporary art in Japan
Japanese modern art takes as many forms and expresses as many different ideas as modern art in general, worldwide. It ranges from advertisements, anime, video games, and architecture as already mentioned, to sculpture, painting, and drawing in all their myriad forms.
Many artists do continue to paint in the traditional manner, with black ink and color on paper or silk. Some of these depict traditional subject matter in the traditional styles, while others explore new and different motifs and styles, while using the traditional media. Still others eschew native media and styles, embracing Western oil paints or any number of other forms.
In sculpture, the same holds true; some artists stick to the traditional modes, some doing it with a modern flair, and some choose Western or brand new modes, styles, and media. Yo Akiyama is just one of many modern Japanese sculptors. He works primarily in clay pottery and ceramics, creating works that are very simple and straightforward, looking like they were created out of the earth itself. Another sculptor, using iron and other modern materials, built a large modern art sculpture in the Israeli port city of Haifa, called Hanabi (Fireworks). Nahoko Kojima is a contemporary Kirie artist who has pioneered the technique of Paper Cut Sculpture which hangs in 3d.
Takashi Murakami is arguably one of the most well-known Japanese modern artists in the Western world. Murakami and the other artists in his studio create pieces in a style, inspired by anime, which he has dubbed "superflat". His pieces take a multitude of forms, from painting to sculpture, some truly massive in size. But most if not all show very clearly this anime influence, utilizing bright colors and simplified details.
A remarkable number of the traditional forms of Japanese music, dance, and theater have survived in the contemporary world, enjoying some popularity through reidentification with Japanese cultural values. Traditional music and dance, which trace their origins to ancient religious use—Buddhist, Shintō, and folk—have been preserved in the dramatic performances of Noh, Kabuki, and bunraku theater. Ancient court music and dance forms deriving from continental sources were preserved through Imperial household musicians and temple and shrine troupes. Some of the oldest musical instruments in the world have been in continuous use in Japan from the Jōmon period, as shown by finds of stone and clay flutes and zithers having between two and four strings, to which Yayoi period metal bells and gongs were added to create early musical ensembles. By the early historical period (6th to 7th centuries), there were a variety of large and small drums, gongs, chimes, flutes, and stringed instruments, such as the imported mandolin-like biwa and the flat six-stringed zither, which evolved into the thirteen-stringed koto. These instruments formed the orchestras for the 7th-century continentally derived ceremonial court music (gagaku), which, together with the accompanying bugaku (a type of court dance), are the most ancient of such forms still performed at the Imperial court, ancient temples, and shrines. Buddhism introduced the rhythmic chants, still used, that underpin Shigin, and that were joined with native ideas to underlay the development of vocal music, such as in Noh.
Main article: Japanese aesthetics
Japanese art is characterized by unique polarities. In the ceramics of the prehistoric periods, for example, exuberance was followed by disciplined and refined artistry. Another instance is provided by two 16th-century structures that are poles apart: the Katsura Detached Palace is an exercise in simplicity, with an emphasis on natural materials, rough and untrimmed, and an affinity for beauty achieved by accident; NikkōTōshō-gū is a rigidly symmetrical structure replete with brightly colored relief carvings covering every visible surface. Japanese art, valued not only for its simplicity but also for its colorful exuberance, has considerably influenced 19th-century Western painting and 20th-century Western architecture.
Japan's aesthetic conceptions, deriving from diverse cultural traditions, have been formative in the production of unique art forms. Over the centuries, a wide range of artistic motifs developed and were refined, becoming imbued with symbolic significance. Like a pearl, they acquired many layers of meaning and a high luster. Japanese aesthetics provide a key to understanding artistic works perceivably different from those coming from Western traditions.
Within the East Asian artistic tradition, China has been the acknowledged teacher and Japan the devoted student. Nevertheless, several Japanese arts developed their own style, which can be differentiated from various Chinese arts. The monumental, symmetrically balanced, rational approach of Chinese art forms became miniaturized, irregular, and subtly suggestive in Japanese hands. Miniature rock gardens, diminutive plants (bonsai), and ikebana (flower arrangements), in which the selected few represented a garden, were the favorite pursuits of refined aristocrats for a millennium, and they have remained a part of contemporary cultural life.
The diagonal, reflecting a natural flow, rather than the fixed triangle, became the favored structural device, whether in painting, architectural or garden design, dance steps, or musical notations. Odd numbers replace even numbers in the regularity of a Chinese master pattern, and a pull to one side allows a motif to turn the corner of a three-dimensional object, thus giving continuity and motion that is lacking in a static frontal design. Japanese painters used the devices of the cutoff, close-up, and fade-out by the 12th century in yamato-e, or Japanese-style, scroll painting, perhaps one reason why modern filmmaking has been such a natural and successful art form in Japan. Suggestion is used rather than direct statement; oblique poetic hints and allusive and inconclusive melodies and thoughts have proved frustrating to the Westerner trying to penetrate the meanings of literature, music, painting, and even everyday language.
The Japanese began defining such aesthetic ideas in a number of evocative phrases by at least the 10th or 11th century. The courtly refinements of the aristocratic Heian period evolved into the elegant simplicity seen as the essence of good taste in the understated art that is called shibui. Two terms originating from Zen Buddhist meditative practices describe degrees of tranquility: one, the repose found in humble melancholy (wabi), the other, the serenity accompanying the enjoyment of subdued beauty (sabi). Zen thought also contributed a penchant for combining the unexpected or startling, used to jolt one's consciousness toward the goal of enlightenment. In art, this approach was expressed in combinations of such unlikely materials as lead inlaid in lacquer and in clashing poetic imagery. Unexpectedly humorous and sometimes grotesque images and motifs also stem from the Zen kōan (conundrum). Although the arts have been mainly secular since the Edo period, traditional aesthetics and training methods, stemming generally from religious sources, continue to underlie artistic productions.
Traditionally, the artist was a vehicle for expression and was personally reticent, in keeping with the role of an artisan or entertainer of low social status. The calligrapher, a member of the
Art history research paper topics and their writing processes differ from other college and university academic papers that students are assigned to write. In such papers you make the necessary arguments concerning the things you see; to be more precise you interpret visual information into verbal information. To write a really good research paper on art history, you should be familiar with the terms needed to describe the work of art and it is extremely important to choose appropriate art history research paper topics.
Art History Research Paper Topics: Types
You can cover your art history research paper in 2 ways:
- Narrative – the description of the facts concerning the topic, which is based on opinions and facts.
- Analytical – the presented argument should be supported by the evidence.
Art History Research Paper Topics: Renaissance
Choosing the Renaissance period as their art history research paper topics, students usually pay special attention to Michelangelo’s style. You can compare several of his early works with his later works and discuss the factors which changed his style of painting.
It is also recommended to evaluate Leonardo Da Vinci’s career and his influence on art.
Art History Research Paper Topics: Far East
The Buddhist architecture and Indian sculpture and painting are inexhaustible topics for research papers on art. You can compare Indian, Japanese and Chinese visual arts and point out differences and similarities between them.
Art History Research Paper Topics: Middle Ages. Gothic and Romanesque
This is a large field for discussions and descriptions, for example, you can compare buildings of the Romanesque architecture, explain the role of illuminated manuscripts in art, etc.
Art History Research Paper Topic Examples
- Main similarities and differences between the Art Nouveau and Art Deco styles.
- Features of sculptures in ancient Greece. The influence of science on sculptures.
- The role of Mughal paintings in forming the image of the Mughal kings in India.
- Biblical motives in Leonardo da Vinci’s early paintings.
- Surrealism in Salvador Dali’s sculptures.
- The origin of the traditional Japanese and Chinese costumes and their impacts on culture.
- Key changes in methodology in paintings at the epoch of Impressionism. The differences in paintings of two impressionists: Edgar Degas and Claude Monet.
- The main features of late Baroque architecture (c. 1660 – c. 1725)
- The history of creating The Death of Sardanapalus and its place in Eugène Delacroix’s paintings.
- Different mannerisms in Pablo Picasso’s paintings, from Art Nouveau to Cubism: evolution, or just separate periods in his oeuvre?
- The combination of different art styles in the extraordinary painting The Kiss by Gustav Klimt.
- Various interpretations of The Starry Night by Vincent van Gogh.
- Ancient Greek motifs in Michelangelo’s sculpture, David.
- The psychology of color in Kazimir Malevich’s works.
- Realistic and artificial motifs in Jasper John’s Flag.
- Why was Renaissance art so overwhelmed with Christian symbols and themes?
- Was Hitler’s artwork actually good?
- Is the majority of modern art a scam?
- What was the influence of the Industrial Revolution on art development?
- What is so special about the carving The Veiled Virgin?
- What were the main reasons of the Roman artistic style shift in the 4th century?
- How were Victorian beauty standards depicted?
- What is so special about the light in Monet’s Sunrise?
- What were the primary aims of the camera obscura and how did it change throughout the years?
- Compare the critiquing styles of Clement Greenberg and Harold Rosenberg.
- What are the peculiar features of Art Deco hotels in French Indochina?
- Was sculpture art the main business in Venice?
- The connection between French caricatures of the 19th century and Goya’s prints.
- What is so unusual and unique in Russian icons?
- The evolution of the uncovered body in paintings of various periods and countries.
You may also be interested in other research paper topics that cover various disciplines.
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