Japanese art covers a wide range of art styles and media, including ancit pottery, sculpture, ink painting and calligraphy on silk and paper, ukiyo-e paintings and woodblock prints, ceramics, origami, and more rectly manga and anime. It has a long history, ranging from the beginnings of human habitation in Japan, sometime in the 10th millnium BCE, to the prest day.
Japan has be subject to sudd invasions of new 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 elemts of foreign culture that complemted their aesthetic preferces. The earliest complex art in Japan was produced in the 7th and 8th cturies in connection with Buddhism. In the 9th ctury, as the Japanese began to turn away from China and develop indigous forms of expression, the secular arts became increasingly important; until the late 15th ctury, both religious and secular arts flourished. After the Ōnin War (1467–1477), Japan tered a period of political, social, and economic disruption that lasted for over a ctury. 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. The Meiji Period (1868–1912) saw an abrupt influx of Western styles, which have continued to be important.
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 p, and their familiarity with brush techniques has made them particularly ssitive to the values and aesthetics of painting. With the rise of popular culture in the Edo period, ukiyo-e, a style of woodblock prints, became a major form and its techniques were fine-tuned to create mass-produced, colorful pictures; in spite of painting's traditional pride of place, these prints proved to be instrumtal in the Western world's 19th-ctury dialogue with Japanese art. The Japanese, in this period, found sculpture a much less sympathetic medium for artistic expression: most large Japanese sculpture is associated with religion, and the medium's use declined with the lessing importance of traditional Buddhism.
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Japanese pottery is among the finest in the world and includes the earliest known Japanese artifacts; Japanese export porcelain has be a major industry at various points. Japanese lacquerware is also one of the world's leading arts and crafts, and works gorgeously decorated with maki-e were exported to Europe and China, remaining important exports until the 19th ctury.
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 earth pits to provide warmth from the soil. They crafted lavishly decorated pottery storage vessels, clay figurines called dogū, and crystal jewels.
Villages started to be discovered and ordinary everyday objects were found such as ceramic pots purposed for boiling water. The pots that were found during this time had flat bottoms and had elaborate designs made out of materials such as bamboo. In addition, another important find was the early Jōmon figurines which might have be used as fertility objects due to the breasts and swelling hips that they exhibited.
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Contrasted from the Early Jōmon Period in many ways. These people became less nomadic and began to settle in villages. They created useful tools that were able to process the food that they gathered and hunted which made living easier for them. Through the numerous aesthetically pleasing ceramics that were found during this time period, it is evidt that these people had a stable economy and more leisure time to establish beautiful pieces. In addition, the people of the Middle Jōmon period differed from their preceding ancestors because they developed vessels according to their function, for example, they produced pots in order to store items.
The decorations on these vessels started to become more realistic looking as opposed to the early Jōmon ceramics. Overall, the production of works not only increased during this period, but these individuals made them more decorative and naturalistic.
The weather started to get colder, therefore forcing them to move away from the mountains. The main food source during this time was fish, which made them improve their fishing supplies and tools. This advancemt was a very important achievemt during this time. In addition, the numbers of vessels largely increased which could possibly conclude that each house had their own figurine displayed in them. Although various vessels were found during the Late and Final Jōmon Period, these pieces were found damaged which might indicate that they used them for rituals. In addition, figurines were also found which were characterized by their fleshy bodies and goggle-like eyes.
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They are considered by many to be represtative of goddesses. Many have large abdoms associated with pregnancy, suggesting that the Jomon considered them mother goddesses.
The next wave of immigrants was the Yayoi people, named for the district in Tokyo where remnants of their settlemts first were found. These people, arriving in Japan about 300 BCE,
Tomb of Emperor Nintoku located in Sakai, Japan. The keyhole-like tomb is 486m long, 305m wide at the bottom and 245m in diameter.
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Represts a modification of Yayoi culture, attributable either to internal developmt or external force. This period is most notable for its tomb culture and other artifacts such as bronze mirrors and clay sculptures called haniwa which were erected outside these tombs. Throughout the Kofun period, the characteristics of these tombs evolved from smaller tombs erected on hilltops and ridges to much larger tombs built on flat land.
During the Asuka and Nara periods, so named because the seat of Japanese governmt was located in the Asuka Valley from 542 to 645
The transmission of Buddhism provided the initial impetus for contacts betwe China 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 governmt, 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.
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Throughout the 7th and 8th cturies, however, the major focus in contacts betwe Japan and the Asian contint was the developmt of Buddhism. Not all scholars agree on the significant dates and the appropriate names to apply to various time periods betwe 552, the official date of the introduction of Buddhism into Japan, and 784, wh the Japanese capital was transferred from Nara. The most common designations are the Suiko period, 552–645; the Hakuhō period, 645–710, and the Tpyō period, 710–784.
On which Chinese artistic traits were superimposed. After the Chinese Northern Wei buddhist art had infiltrated a Korean pinsula, Buddhist icons were brought to Japan by Various immigrant groups.
Particularly, the semi-seated Maitreya form was adapted into a highly developed Ancit Greek art style which was transmitted to Japan as evidced by the Kōryū-ji Miroku Bosatsu and the Chūgū-ji Siddhartha statues.
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The Three Kingdoms, and particularly Baekje, were instrumtal as active agts 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 cturies of our era. Other examples can be found in the developmt of the iconography of the Japanese Fūjin Wind God,
The earliest Buddhist structures still extant in Japan, and the oldest wood buildings in the Far East are found at the Hōryū-ji to the southwest of Nara. First built in the early 7th ctury as the private temple of Crown Prince Shōtoku, it consists of 41 indepdt buildings. The most important ones, the main worship hall, or Kondō (Gold Hall), and Gojū-no-tō (Five-story Pagoda), stand in the cter of an op 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.
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Inside the Kondō, on a large rectangular platform, are some of the most important sculptures of the period. The ctral 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 ctury) in homage to the rectly 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 wood replica of a Kondō, which is set on a high wood base that is decorated with figural paintings executed in a medium of mineral pigmts mixed with lacquer.
Temple building in the 8th ctury 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 cturies of Buddhist worship in Japan. Appropriately, the 16.2-m (53-ft) Buddha (completed 752) shrined in the main
