Masterpieces of Chinese Art, Essay Example

While many individuals that have an appreciation of the arts typically think of European pieces as examples of artistry, it is important to consider the relevance of non-Western art to the art world. Art has a fantastic way of conveying the culture from which it was derived, and many pieces are used to tell historical stories or to simply transmit emotions to the viewer. Of particular interest is the ability of Asian art to accomplish this. While Chinese, Japanese, and Korean individuals have distinct cultures, languages, and societies, their art forms appear to be somewhat similar due to the more frequent trade and warfare that these societies engaged in. As a consequence of this relationship, political affairs have led to a rapid exchange of ideas between these societies, leading to the development of similar artistic styles that are meant to portray similar themes. Overall, it is important to understand Asian art because it helps us understand more about the cultures from which these pieces are derived.

One of the most interesting art forms that developed in Japan was ukiyo-e, which was created to portray themes that represent entertainment. As such the images could capture pretty women, sumo wrestlers, kabuki artists, and more. This style of painting was popularized during the Edo period, which spanned from years 1603–1867. Since this period marked a rise in the power and prevalence of the merchant class, it is clear that this art style formed as a means of providing them with entertainment and decoration. Prior to this period, art had mainly focused on depicting images of the royal family, but during this period of time, art began to take on more entertainment value.

A particularly representative piece from this period is known as both Takiyasha the Witch and the Skeleton Spectre and Mitsukuni Defying the Skeleton Spectre Invoked by Princess Takiyasha created by artist Utagawa Kuniyoshi (Jackson). Even though the piece was created in the early 1800s, it is reminiscent of modern comics. In the image, a large skeleton looms over two warriors, one of which had been identified as ?ya no Mitsukuni, a well-known samurai warrior (Garson). This piece is particularly characteristic of ukiyo-e style, as the purpose of the picture is to tell a story that members of the merchant class might find to be entertaining (Jobling & Crowley).

The legend behind the picture dictates that Princess Takiyasha belonged to a clan that intended to rebel against the central government of Japan in the Heian period. During this battle, her father was killed. Therefore, the princess attempted to seek revenge for this death by summoning the spirit Nikushisen to lead an attack on her father’s murderer, Minamoto Yorinobu. However, before they could reach their target, they were cut off by Oya Taro Mitsukuni who remained brave in the face of the spirit. Oya Taro Mitsukuni eventually won the battle as a consequence of his bravery. This image is meant to depict his lasting triumph over evil.

This piece is created in a particular way that allows it to be evident that the creator is trying to tell a story. It consists of three panels. In the first panel, the princess is holding a summoning scroll to indicate her attempt to summon spirits to help her achieve her revenge. In the next two panels, an imposing skeleton is standing over Oya Taro Mitsukuni, who remains stoic in the face of the monster (Szczepanski). Accompanying him is an unnamed samurai who appears to be frightened by the monster. This contrast is important because it compares Oya Taro Mitsukuni’s bravery with this man’s, emphasizing that he is a hero because he is able to ignore the imposing nature of the skeleton and defend his castle.

Ultimately, this painting reflects an important part of Japanese history because it demonstrates the historical relevance of storytelling in art during this time period. These pieces were meant to entertain merchants in Japan, who were becoming able to afford more extravagant belongings due to their rising status in society. The urbanization trend in cities contributed to their ability to succeed in society, which is evident based on the themes of paintings that were produced during this time period.

An additional work that is highly representative of Asian art during this period of time is Early Autumn, a piece created by Qian Xuan during the 13^th century (Cooper 87). During this time period in China, artists created paintings primarily in order to achieve political means. While some artists were able to create art for their own personal enjoyment, others relied upon the royalty and nobility to commission pieces in order to gain a profit. In this particular situation, Qian Xuan created this piece in order to subtly criticize the Mongolian rule that his people were subjected to during this time period. Qian was well-known to be a Song loyalist, and even though he was likely not asked to create this painting, felt compelled to in order to convey his frustration to other loyalists and to spread hope that the Mongolian government may one day be overturned.

At first look, the image appears to be beautiful as a consequence of the brush strokes and choice of coloration. However, upon closer examination, it is clear that locusts take up a majority of the image, as there are more than three. Furthermore, in the background of these locusts and dragonflies, there are decaying lotus leaves, indicating that the image is of a depressed state. In a sense, the insects can be said to represent the Mongolian rulers while the decaying lotus leaves are meant to represent the decaying state of China. Qian used this particular method in order to convey his political ideologies because he was not able to speak openly about his discontent out of fear about what the Mongolian’s might do to him for protesting (Meech-Pekarik). Therefore, he aimed to remain silent, while finding a way to share his thoughts with other Chinese loyalists.

Although both pieces of art discussed were created for varying reasons, there are many similarities between the two. Of particular importance is the theme chosen for both. In “Takiyasha the Witch and the Skeleton Spectre”, the focus is a myth that is revered almost to be historical fact. While the image and the myth are a fantastical version of a fight that had happened in reality, it is meant to serve as a reminded of the war as has political implications. Ultimately, it reminds the viewer to remain faithful to the central government and to stay strong in defending it. On the other hand, “Early Autumn” was created primarily to demonstrate the artist’s discontent for the Mongolian government and preference for his previous ruler. While both of these pieces has been created to demonstrate that it is important to remain loyal to the government, they reflect differences with regards to the political messages they are trying to convey. However, this indicates a strong importance of politics in both regions and time periods, and politics have remained a common art theme in both societies in the modern setting.

An important difference between the two paintings is also that the emotions they are meant to convey differ. In “Takiyasha the Witch and the Skeleton Spectre”, the viewer is supposed to feel extremely proud of Oya Taro Mitsukuni for standing up for his country (Kikushi & Kenny). When the viewer looks at the painting, he or she is supposed to immediately recognize this scene and connect with it. On the other hand, “Early Autumn” is meant to convey a feeling of sadness and nationalism for what the country once was. Furthermore, it is meant to transmit this message in a subtle manner, so that only the individuals that agree with the artist are able to gain a true sense of what it represents.

In conclusion, there are many similarities and differences between the art styles employed in Asian countries throughout history. Since China and Japan are neighbors, there are many similarities in art form and theme. However, it is important to consider that these pieces are created as a consequence of the interests and desires of the artist, so the nuances between the pieces differ significantly. Interpreting art in this manner is beneficial because it allows the viewer to learn more about the history of the culture from which the art derives.

Works Cited

Cooper J, Cooper R. Masterpieces of Chinese Art. Todtri Productions, 1997.

Garson, Alfred. Suzuki Twinkles: An Intimate Portrait. Alfred Music, 2001.

Jackson, Anna. V&A: A Hundred Highlights. V&A Publications, 2001.

Jobling, Paul; Crowley, David. Graphic Design: Reproduction and Representation Since 1800. Manchester University Press, 1996.

Kikuchi, Sadao; Kenny, Don. A Treasury of Japanese Wood Block Prints (Ukiyo-e), 1969.

Meech-Pekarik, Julia Early Collectors of Japanese Prints and the Metropolitan Museum of Art”. Metropolitan Museum Journal 17(1982): 93–118.

Szczepanski K. Yoshitoshi Taiso’s Ghosts and Demons. N.D. Web. 18 May 2015.