Japanese Art in Brief

Table of content:1. Introduction2. Early Works3. Buddhist and Chinese Influences4. The Nara Period5. The Fujiwara Period6. The Kamakura Period7. The Muromachi Period8. The Momoyama Period9. The Edo Period to the Twentieth Century10. Recent Japanese Art11. References

Introduction:Japanese-style paintings are painted on silk or Japanese paper with a brush. Black Indian ink and mineral colors (pulverized lapis lazuli, green copper rust, and ocher) are used as paints. The paintings appear in various sizes and forms.They are even painted on paper sliding doors, folding screens, scrolls and hanging scrolls. Japanese-style painting has its origin in Buddhist painting from china. They evolved gradually into a unique Japanese style called “Yamato-pictures” during the “Heian” period (AC794~1185).

Early Works The earliest art of Japan, probably

dating from the 3d and 2d millennia BC, consisted of monochrome pottery with cord-impressed designs (Jomon),

the Jomon people made large numbers of human figures from clay, especially in the Chubu region. These figurines mostly represent pregnant women, a typical example and a famous figurine is called the Jomon Venus figurine. Such clay figures have been discovered in great numbers in the eastern parts of Japan and in Kyushu, particularly in the area around the outer crater of Mt. Aso.

Buddhist and Chinese Influences The stylistic tradition of

Japanese art was firmly established at the time of the introduction of Buddhism in the 6th cent. The teaching of the arts through the medium of Buddhist monasteries and temples progressed under Korean monks and artisans, who created Buddhist sculpture and pictures representing divinities

The Nara Period In the sculpture of the Nara period (710–784) clay figures and statues

made in the dry-lacquer process (lacquer applied to a solid core of wood or lacquered cloths placed over some kind of armature) attained great popularity. Representations of Buddhist deities and saints in wood and bronze evolved in style from an elegant thinness in the works of Tori (active c.600–630) to the more massive figures of the 8th and 9th cent., which reflect the style of the later T'ang dynasty in China.

The Fujiwara Period The Fujiwara period (898–1185) is marked by the crystallization of

the Yamato-e tradition of painting (based on national rather than on Chinese taste). Kanaoka (late 9th cent.) was the first major native painter. The famous illustrated scroll of the Tale of the Genji—written in the early llth cent. By Lady Murasaki—with its rich color and subtracted treatment of the features of men and women reflects the extreme sensitivity and refinement of the court during that period. The same delicacy of taste can be seen in the sculpture of Jocho (11th cent.). 

One of the oldest Yamato-e works to survive, are four famous 12th century hand scrolls of parts of the “The Tale of Genji.”

The Kamakura Period In the Kamakura period (late 12th–14th cent.) the country was

governed by the military, which preferred boldness to refinement, action to contemplative atmosphere, and realism to formality. The new class created a demand for paintings and sculptures portraying officials, warriors, priests, and poets. The school of the sculptor Jocho was continued by Kokei, Kaikei, and Unkei, the principal Kamakura sculptor. These artists imbued their works with a vigor and attention to realistic detail that was never equaled.

The Muromachi Period The Muromachi period (1392–1573) ushered in a renaissance of

Chinese-style ink painting. The Zen sect of Buddhism, which enjoyed a growing popularity in the early Kamakura period, received the continued support of the new rulers. Ink painting was accepted as a means of teaching Zen doctrine. Such priest-painters as Josetsu, Shubun, and Sesshu are the most revered of Japanese landscapists. Their works are characterized by economy of execution, forceful brushstrokes, and asymmetrical composition, with emphasis on unfilled space. During this period sculpture began to lose its Buddhist inspiration. 

The Momoyama Period Architectural sculpture was on a par with the unprecedented grandeur

and ostentation achieved in painted screens of the Momoyama period (1568–1615). At this time constant warfare created a need for many great fortresses. Their interiors were lavishly decorated with screens painted in strong, thick colors against a gold background. The Kano family of artists succeeded in fusing the technique of Chinese ink painting with the decorative quality of Japanese art. 

The Edo Period to the Twentieth Century The school of painting started in the Edo

period (1615–1867) by Koetsu Hon'ami and Sotatsu Tawaraya and continued by Ogata Korin and Ogata Kenzan represented a return to the native tradition of Japanese painting.

Recent Japanese Art In the mid-19th cent. A few print designers attained distinction, but

no masters appeared to equal their predecessors. In the 20th century. The majority of painters and sculptors have been overwhelmingly influenced by Western styles. Contemporary Japanese painters such as Taikan Yokoyama and Kiyoteru Kuroda have received international acclaim. In lacquerware, ceramics, and textiles traditional forms have been retained, and modern Japanese pottery is widely esteemed.

References:

http://www.artelino.com/articles/japanese_art_history.asp

http://en.wikipedia.org/wiki/Japanese_art

http://arthistoryresources.net/ARTHjapan.html

http://www.questia.com/library/art-and-architecture/art-of-specific-countries-and-peoples/japanese-art

http://heritageofjapan.wordpress.com/inception-of-the-imperial-system-asuka-era/the-cultural-heritage-the-art-of-asuka/

http://www.studyblue.com/notes/note/n/asian-art-test-4/deck/6707008

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