The Development of Arts in Japan and China After the 14th Century, Research Paper Example

Introduction

The development of art in Asia differs from the Western culture’s initiatives. However, in different parts of the region, culture, beliefs, political and social conditions formed artistic development in unique ways. The below essay will focus on the main themes and traits of art in two countries: Japan and China after the 14^th Century. The author would like to review the common and unique themes of artistic development in the two countries, based on the fact that culture and writing in Japan originated from China, and the early influences of the Chinese civilization impacted the visual art of the future centuries in Japan. However, after the isolation of Japan from the rest of the world, the country’s architects and painters took a different route, creating their own style, methods, and ideas, based on uniquely Japanese beliefs and themes. The main thesis the author would like to examine in the below compare and contrast essay is that while Chinese civilization influenced the early art of Japan, later the country’s artists developed a unique way of expressing their national identity, culture, and beliefs.

Common Traits and Influences

Religious beliefs determined the development of art in both countries. In Japan, according to Jirousek, the ancient religious system of Shintoism defined the themes, topics, and thoughts represented in the early art of Japan, which was later replaced by Buddhism in the 6^th Century. The major change in art, culture, and belief systems came in the 14^th Century, when Zen Buddhism, a specific type of Buddhism was developed in Japan. The main values of this religion, such as contemplation, relaxation, contentedness, observing nature, and withdrawal from the world were widely represented by the works of artists.

In China, with the spread of Buddhism, during the Ming dynasty resulted in turning to nature, observation, and aiming for tranquility, as well. As Kleiner et al. (74) state, calligraphy and nature paining, such as paintings of Bamboo were popular and widespread. It is important to note that Bamboo had a symbolic meaning in the Chinese culture, representing the “ideal Chinese gentleman” (Kleiner, 74).

Visual symbolism is present in both countries’ art. Even in architecture, the buildings seem to represent an ideology, a theme, or feeling. As Jirousek confirms, both Chinese and Japanese architects looked at buildings as an extension of nature. However, there are several differences in the representation of natural features and symbols, as Lee (4) confirms is that while several Japanese artists used Chinese techniques and motifs, they tried to exaggerate them to give them new meanings. Lee (4) also confirms that as the Japanese art developed under Chinese influence, some early pieces are almost identical. The author mentions one particular example: Hsia Kei’s handscroll from the 13^th century Japan and the screen panels created by Shubun, a monochrome master are so similar that it is hard to decide which one is Chinese and which is Japanese.

The impact of Chinese architecture on Japanese buildings is also evident. Miller (270) states that the “Chinese model employed to transform the indigenous nature-spirit shrines in both China and Japan”, which is an important feature of the architecture of both countries. In order to make the building become a part of a “story” or ideology, it was important to incorporate symbols in architecture, and this was accomplished by both Chinese and Japanese artists. In Japan, before the Chinese influence, the building traditions were limited to basic structures, and there were no halls designed to house the image of the god (Miller, 278). After Chinese culture impacted the culture of Japan, shrines and gateways were designed. Miller (279) notes that there are four distinctive characteristics of Japanese shrines designed in this period that show Chinese influence: elevated inner sanctuary, the rectilinear courtyard compound arrangement, the construction of walls or fences, and the Southern orientation. Still, Japanese artists managed to create their own design later on, reaching back to the traditional wooden structure design (Satoshi, 3).

Cultural Differences Affecting Artistic Representation

According to Lee (4), Chinese culture and society’s tradition focus on modesty and moderation, and this is represented in the work of artists through centuries. On the other hand, Japanese culture is thought to be more vivid and “louder”, therefore, it showcases the themes of exaggeration and calling for action. This thesis presented by the author will be reviewed below through various examples of Chinese and Japanese artifacts from the 14^th century. In the Chinese culture, for example, painting animals was driven by representing a static reality. In Japanese art, however, created by Sesson, depict a tiger that is in action, is playful, and unique, instead of being “average representation of the tiger”. The main difference in the representation of events, people, and animals, according to the author (Lee, 4) is that Japanese art is more dynamic, just like Japanese society was more development-focused.

Main Differences and Artistic Features

Referring to the same pair of art pieces (Hsia Kei’s handscroll and Shubun’s panels, however, the author finds striking differences, after thorough observation. For example, in Shubun’s work, it is clearly visible that the artist put more emphasis on the brushwork than his Chinese counterpart. This indicates that while Japanese artists followed Chinese techniques, motifs, and structures, they slowly started to develop their own style during the 14^th century.

Both Japanese and Chinese architecture were focused on using natural building materials and shapes, according to Lee and Park (3). However, while symmetry was necessary in China, asymmetry was allowed.

The use of poetry along with pictures is an old tradition of Chinese culture, and it was somewhat implemented in Japanese art, as well. The meaning and symbolism of words alongside pictures, however, developed in diverse ways. While the cultural influence of China depicting historical events is confirmed by Kleiner, the motifs and ideas presented are different. In the Muromachi period (Keliner, 105), Zen Buddhism was developed, and new ideals appeared. The focus of both poetry and imagery representation moved away from actual real life events to representing spiritual journeys. The influence of Samurai rules and principles, strict doctrines is also clearly visible in Japanese art from the 14^th century. According to Lee (6), “the narrative scroll in China was a secondary category”, while in Japan it had a great significance on cultural developments, religious life, and traditions. Taking the format from China, the Japanese transformed handscrolls into tools that tell stories, moral tales, and myths, educate and entertain people. The more dynamic nature of the Japanese society is manifested in the re-purposing of Chinese handscrolls. Further, a clearly structured, analytical society of China could only accept realistic representation of nature and buildings, however, Japanese art in the 14^th century is filled with emotional quality (Lee, 6). Artistic approaches in China and Japan developed different ways, as the cultures of the two countries and social order were not the same. As Lee confirms, Japanese artists use more reflection, while Chinese focus mainly on true, realistic representation. The fact that some of the Japanese artifacts can be judged as caricatures based on today’s categories of art, and Chinese works are more “down to earth” shows the difference in the two countries’ beliefs, attitudes, and cultures.

One example of ideologies’ representation in Chinese art is the Woods and Valleys of Mount Yu, (Ni Zan, 1372), embracing solitude, based on traditional Buddhist teachings. The use of poems to accompany imagery representation of nature in a typically Chinese way is clearly visible in Wang Mian’s Fragrant Snow at Broken Bridge, combining natural scenes and events in order to represent human emotions of solitude.

Saunders (174), however, tells us that Japanese poetry accompanying paintings and handscrolls was more narrative, less symbolic, and had both political and social messages. As the author (Saunders, 174) confirms: “Japanese emaki, or illustrated handscrolls, are narrative paintings that consist of many joined sheets of paper or silk covered with texts and paintings, mounted together around a dowel”. The scrolls were a part of telling stories and creating culture. They had a special purpose, such as explaining the origins of religious places, shrines, commemorating events. In contrast, 14^th Century paintings of China simply depicted people, animals, or nature. Therefore, one of the main themes identified in the different development of Chinese and Japanese art and paintings is that while Chinese artists were attempting to provide the audience with an emotion or sensation, Japanese were focused on educating and creating culture.

Differences in Japanese and Chinese Symbolism

It is important to note that – as it has already been mentioned  – Chinese and Japanese artists worked with several symbols that represented their culture, beliefs, religion, and inspirations. The below review of Chinese and Japanese symbolism will provide an overview of differences in focus, themes, and ideologies.

In China, according to Kelly, symbolism was used to deliver moral messages, culture, social standing, and tell stories. The constellation of the sun and moon was a symbol often used to depict the wisdom of the emperor. The dragon is one of the best known symbols of Chinese art, and was often used to depict adaptability and the change of seasons/times. Flames in images and scrolls were used to depict daily activities that improve people’s lives. Crane in Chinese art stood for longevity, while bats were representing happiness.

Kleiner et al. (76) state that the decoration of everyday objects, such as vases donated to temples used symbolism to please the person who provided the gift, as well as to make the item more decorative. Using dragons, phoenixes on the vase was a way of simply representing the wealth and power of the emperor and empress.

In Japan, however, there were more natural symbols, and represented emotions, as well as predictions for the future. Bats, for example, were indicating good fortune, and arrows were placed on images to fight bad fortune. It is also evident that Japanese artists’ symbolism was much deeper, and was represented in everyday objects, as well. The use of wish granting jewels, for example on the Inari Shinto Shrines had both a religious and practical purpose.

Conclusion

The above review of artistic imagery and architecture has revealed that while techniques and ideologies were implemented from China by Japanese artists, the cultural and ideological differences resulted in a different course of artistic development. As it has been stated above, the Japanese society and ideology, opening up to new ideas, such as Zen Buddhism determined the way artists represented reality. The main differences found between 14^th century Chinese and Japanese art were based on artistic approaches, increased dynamics of Japanese paintings, and the more extensive use of narrative art in Japan. While Chinese artists were focusing on representing reality and delivering feelings, values, and moral messages through symbolism, Japanese reflected on scenes, and used a more complex symbolism.

While spiritual and religious poems accompanying paintings in China were designed to depict the same emotions and sensations on the image, in Japan, narratives were created, and they achieved a higher importance than the images themselves. The main difference between the two countries’ artists’ attitudes is that while Chinese painters wanted to capture reality, Japanese took a more dynamic approach: drawing moral conclusions, telling stories about ancestors, historical characters, and even places, in order to educate their audience.  While the influence of Chinese architecture on Japanese shrine building at the early ages was found to be significant, Japanese architects turned back to traditional materials and shapes, breaking up with the rules of symmetry.

Overall, the initial thesis of the current essay has been confirmed: despite the strong influence of Chinese culture and art on Japan’s artistic development, by the 14^th century, Japanese artists managed to create a unique viewpoint and approach that distinguishes Japan’s artifacts from those found in China and Korea.

Works Cited

Jirousek, C. “Japan: Historic Background” 1995. Web.

Kleiner, Fred S., and Christin J. Mamiya. “Gardner’s Art Through the Ages: Non-Western Perspectives.” (2006).

Lee, Sherman E. “Contrasts in Chinese and Japanese art.” Journal of Aesthetics and Art Criticism (1962): 3-12.

Lee, Hyun-Jung, And Young-Soon Park. “A Comparative Study on the design element in Traditional palaces of Korea, China and Japan.”

Miller, Tracy. “The Influence of Chinese Empire on East Asian Shrine Architecture: An Experiment in Cross-Cultural Comparison.” Asia Major (2006): 267-297.

Satoshi, Y. “The Tradition of Wooden Architecture in Japan” 2006. Print.

Saunders, Rachel. “Talking Pictures: The Life of Xuanzang in a Fourteenth Century Japanese Handscroll.” Literature & Aesthetics 22.2 (2014).