Evolution_of_Japanese_Art

The evolution of Japanese art: Asuka to Heian After the introduction of Buddhism to Japan, Japanese artists followed strictly with the Chinese style during the Asuka period and Hakuho period. Almost all artworks of that time were religious pieces having to deal with Buddhism. However, in the Heian period, Japan moved its capital from Nara to Heian Kyo due to the strong political powers that Buddhist temples held at the time. This separation from the strong Buddhist influences allowed the Japanese to establish a more elaborated court life, in turn helped Japan to develop their own native style. The style of Japanese artworks changed dramatically from the Nara to Heian period not only due to this separation, but also due to the soured relationship between China and Japan. This is not to say that, Japanese artists have given up the Chinese style completely, but rather separated the development of the two styles completely. The Asuka period marks the first major introduction of Buddhism into Japan. Along with Buddhist ideals, so too were Buddhism artworks brought to Japan from neighboring countries. The art style that Japanese artists painted and sculpted during this period is that of the Chinese elongated style, found commonly in Chinese artworks during the 6th century. The key features of this style are the slender bodies of the figurines, high pointed nose, down cast eyes, and iron wire lines on paintings. One of the most prominent painters of that period, Busshi Tori sculpted the Shaka Triad, with features that are almost identical to the Seated Buddha found the Longmen Caves . In this sculpture, Shakamuni is seated in the middle accompanied by two Bodhisattvas. Shakamuni in both sculptures look remarkably similar, seated in the same fashion, with the same mudra. The draperies between the two sculptures are almost identical in that both sculptures show the Linear patterning that is a favored style of China. Perhaps the most key feature that indicated the direct influence of the Shaka Triad from the Longmen cave sculpture is the orientation of the Sculpture. In the Shaka Triad, all sculptures have an incomplete back that is not sculpted, meaning the view is suppose to view the artwork only from the front. This is parallel to the Longmen cave sculptures where the figurine is directly cut into the rocks, unable to present a view that is not directly from the front. The import of this style is possibly related to one of the most important figurine that was imported at that time, the Korean sculpture of Miroku. In the early Asuka period, many Buddhist artworks were in fact not made by Japanese artists at all, but imported from Korean as gifts. The Miroku sculpture is one of the most important figurines that survived to this day. This sculpture was made in the Chinese elongated style, in the later 6th century. This also explains why there is a delay of styles between China and Japan. Where the elongated style was popular during the 6th century in China, it was popular during the 7th century in Japan. Of course the elongated style was not limited to sculptures of that time, but also found in paintings. The Tamamushi shrine, made around 650 c shows the only example of Japanese paintings that survived during the early 7th century . The painting depicts one of Shakamuni’s past life called the Hungry Tigress Jataka. Resemblance of the Chinese 6th century style can be found in both the figurine and the landscape. What is important about the landscape of this painting is the way how the mountain cliffs are depicted. The use of colors, and C-shaped cliff edges, are signature features found in Han-chinese artworks . Also the way how the painting is outlined, with a single defined iron wire line, is a distinctive feature found in Chinese paintings during the 6th century . The direct influence from China becomes a very important feature in Japanese art during these periods. During the Hakuho and early Nara period, Japan became very close with China. The art style of this period quickly shifted to the Tang Dynasty style that was employed in China at that time. The Tang Dynasty style figurines have an overall fleshier body and natural look. Some of the features are round faces, broad shoulders. The Yakushi Traid, found in the Yakushiji, depicted the figures in this style. Similar to the Shaka Triad, the Yakushi triad also features the main Buddha in the center, accompanied by two Bodhisattvas; this was the popular composition of Buddha sculptures of that time. However, the Tang dynasty style can be clearly seen in all of the depictions of the figures. The shoulders of the sculptures were broader, their faces were rounder, and also the drapery of the clothes became more naturalistic. Overall however, the general characteristics of Buddha did not change. He still has the downcast eyes, and the distinctive hairstyle that is found on all Buddha depictions. However, there is a dramatic switch from the Chinese 6th century style to the more modern, at that time, Tang dynasty style. Found in the same temple was a painting of Kichijo-ten, a painting that show the typical Chinese tang dynasty style, as well as other elements that were directly important from China and India. This painting depicts the mother of Shakamuni, in a very elegant gown that is very similar to gowns that Chinese court ladies wore during that time. The gowns themselves have a very naturalistic flow of drapery, a feature that becomes very important in the later Japanese artworks as well. What is more evident is that the patterns of the gown that Kichijo-ten is wearing are distinctively from China, and there are certain transparent elements of the gown that is also used on other Chinese paintings of that time . Doubtlessly, this painting is directly influenced by China. Even the figure she, with the heavy makeup, small eyes, small mouth, is also following what defines beautiful women in China of that period. Well into the mid Nara period, Japanese art styles became more and more naturalistic. While much of the Tang Dynasty style is still found is most of the artworks, Japanese artists begin to incorporate some of their own native elements to them as well. One of the biggest changes to sculptures is that increasing amount of sculptures are made with wood, instead of bronze. Wood is much more readily available in Japan, and is a native material to use; because of this, different types of wood sculpting techniques were used. The sculpture of Ganjin, made with the dry lacquer style, is an example of how this shift allowed the artist to create a very naturalistic depiction of a figure . The sculpture itself is very simple, with minimal details. However, the planes of the neck and the draperies were carefully made to give it a strong naturalistic feel. The overall sculpture is carefully painted so that the clothes and the flesh of Ganjin contrasted characteristically. During mid Nara, more naturalistic sculptures were made by the use of wood as the source material. However, towards the end of the Nara period, Japanese sculptures begin to shift away from the naturalistic style. The Standing Yakushi Buddha sculpture made in 793c depicts the drapery is a very schematic way that is more stylish than natural. Facial features of the sculpture differ from previous sculptures in that it has a very serious expression, unlike the natural expression found on the Ganjin sculpture. This new trend, which contrast from the realistic sculptures made in the earlier Nara period, shows that Japanese artists are beginning to develop their own idea of Buddha as well. Along with the different methods of wood block techniques, Ichiboku Zukuri, and Yosegi Zukuri, Japanese artists would establish their own native style in the next period. During the Heian period, Japanese artworks flourished and developed many more variety than any previous periods. The Heian period began when Japan moved its capital from Nara to Heian-kyo. Due to this move, there were three key differences that marked the Heian period from the Nara period. Firstly, the change in capitol directly shifted all the powers from Buddhist monks to the clans of that time. Second, since the emperor regained most of his power, refined court culture was allowed to flourish. Lastly, this shift from having a Buddhist centered capital allowed the reemergence of secular art. Whereas during the Asuka till Nara period, most artworks were made for the religious purposes, during the Heian period, many artists painted landscape and seasonal paintings. Another key event that happened during the latter half of the Heian period was that Japan cut its relationship from China. The soured relationship between the two countries allowed the flourish of Japanese native styles. This is not to say that all Chinese styled artworks stopped completely. During this period, Buddhist and secular art, as well as Chinese styled and Japanese styled art developed parallel to eachother. One of the earliest paintings that depicted the incorporation of Japan’s own native elements is the Amida Raigo painted around the 12th century. These raigo paintings were made popular during the Heian period due to a new branch of Buddhism called the Pure Land Buddhism. In Pure Land Buddhism, when the person dies, the Amida Buddha would Descent to welcome him to the western paradise. The overall style of the painting is still closely following the Tang Dynasty style; however, the background of this painting depicts Japan’s local scenery. The style that is used to paint the background contrasts dramatically with the foreground. Whereas “…the color of the drapery does not show nervous attention to detail… extremely delicate brushwork is apparent in the superb landscape painted in [the] yamato-e style.” In previous paintings with landscape, all landscapes depicted Chinese scenery; this is the first painting that used local scenery that is unique found in Japan as the background. Emaki painting became a popular form of painting during the Heian period . While Buddhist artworks were still employing the borrowed features of Chinese artworks, Japan was able to assimilate its own elements. At the same time, Japan was developing its own native style. Yamato-e is the term that Japan used to distinguish from Chinese styled artworks, which were known as Kara-e. Couple differences between the two major styles are that, while Kara-e was still mainly used to depict serious religious paintings, Yamato-e was more personal, emotional, and decorative. For example, in the Tale of Genji, the style strays away from the “explicit realism” and instead relied on the “conventions of composition and juxtaposition of colors to convey the emotional mood.” During this period, Japan also developed its own unified writing system called the Kana. Thus, in Yamato-e paintings, Kana was used to describe the painting instead of Chinese characters (known as Kanji.) Among the Yamato-e, different styles also developed in accordance to what the subject of the painting is. The Tale of Genji, one of the earliest and most famous Yamato-e painting that survived of that time, is an example of a Yamato painting called the Onna-e . The painting depicts the story of a very popular novel of that time, the courtly love of genji. This painting shows the typical composition of an Emaki painting. It depicts mostly interior scenes; diagonal lines were used to show the spatial depth of the painting. Everything is viewed from a bird’s eye view, so the roof is not drawn in, but assumed to be in place. What is unique to Onna-e is the geometrical shape of the characters, the highly colorful and decorative clothing compared to the lifeless expression, and the thick pigment that colors most of the painting. Scholars believe that sharply angled lines and strong colors were used to represent the intensity of the mood rather than facial expressions . The style to which the painting is colored is called Tsukuri-e, where thick opaque paint is piled onto the artwork over an under drawing, then outlined with a dark thick line . This technique distinguishes Onna-e apart from other paintings of that time. In contrast to the Onna-e, Shigisan Engi Emaki is an example of an Otoko-e during the Heian period. Straight away, couple obvious features distinguish itself from the Tale of Genji. Whereas in the tale of Genji, heavy colors layered upon detailed sketched work, in Shigisan Engi, there is minimal use of colors, and there is no sketch. Each figurine is posed vividly in an almost exaggerated fashion, with equally exaggerated facial expressions that narrate the story of the scroll painting. In addition, there are no text inscriptions complementing the artwork, since this is a very famous story, it was unnecessary to add in descriptions. The composition of the painting is similar to the Tale of Genji. Diagonal lines were still used to convey the spatial depth of the painting, and everything is meant to be seen in the bird’s eye view. Less obvious differences between the two types of paintings is that Otoko-e is usually used to depict historical events, state affairs, and politics. The story of this story depicts the original of the temple on Mount Shigi. Detailed facial expressions of every character, even the secondary characters, possibly show the “insights of the commonly people,” suggesting that this painting is likely meant to be seen by common people more than nobles. With the introduction of Buddhism, religion became the central theme for most artworks created during the Asuka till Nara period. Since most Buddhist artworks originally came either from Chinese artists, or Korean artists that were inspired Chinese artists, much of the early Japanese Buddhist artworks strictly followed the Chinese style as well. Late Nara period and starting in the Heian period, Japan began to develop its own aesthetics and style; more and more secular artworks were found during this time. Eventually, the Japanese and Chinese style would separate completely and develop as two branches. Japanese native style known as the Yamato-e would also develop into different branches, known as the Onna-e and Otoko-e. Later in Japanese history, both of these styles would sometimes interchange with eachother forming paintings that show the aesthetics of both Onna-e and Otoko-e.   The Arts of Japan Nihon no Kaiga Japan's ancient paintings; 50 selected national treasures Tokyo, Mainichi Newspapers, 1970 Akiyama, Terukazu, Japanese painting [Geneva'] Skira; [distributed by World Pub. Co., Cleveland, 1961] Author(s): Barbara Brennan Ford Source: The Metropolitan Museum of Art Bulletin, New Series, Vol. 45, No. 1, The Arts of Japan (Summer, 1987), pp. 1+4-56 Penelopse Mason History of Japanese Art. 2nd ed, (2005) Shen, Kuiyi Class Lecture 1/13/2010 – 2/10/2010