art throughout japanese history
TRANSCRIPT
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Holly Majors
Honors Visual Arts Seminar
Art throughout Japanese History
Japan has gone through many periods, each usually, but not always, named after the
place where the main government of that time resided. The first on record is referred to as the
Jmon () period, with the Japanese term meaning literally cord pattern. It was named
after the characteristic trait of the pottery created during that time, which usually portrayed a
pattern that looked much like intricate cords on the outside of objects of everyday use. As time
progressed, the pottery evolved along with the technology, mental capabilities, and the peoples
principals. And then came the Ainu () people, who conquered the people of the Jmon
period and began their own period, the Yayoi period.
The Yayoi period was named such for the neighborhood in Tokyo in which the first
archaeological remains of that time were found. This period brought about many new types of
pottery, along with the knowledge of how to manipulate copper and bronze to create weapons,
mirrors, and ceremonial bells called dtaku (
) that were used for temples. The pottery
became more simplistic, with uncomplicated designs, and was created on pottery wheels, and
then fired in kilns, a far cry from the Jmon hand crafted pottery. The art of metal working
became more popular and started to become something more than just crudely made weapons
and plain, unadorned hammered out sheets of bronze, or mirrors.
It was also during this time that, according to old legends and ancient Chinese chronicles,
a man named Jimmu became the first emperor of Japan, though historians can find no hard
evidence that Jimmu actually existed.
The Yayoi period then smoothly progressed into the Kofun () period, a period
famous for, and named after, the kofun (literal translation ancient grave) that were created. The
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Holly Majors
Honors Visual Arts Seminar
Kofun period is the oldest recorded history in Japan. The kofun became an art of their own,
being created in intricate shapes, made to look like recognizable from the air, even though they
had no way of obtaining an aerial view in order to accomplish this.
The largest kofun that was created in this time period was, and still is, called Daisen-
kofun and is found in Sakai, Osaka-prefecture, Japan. The keyhole-like tomb is 486m in length,
305m in width at the bottom, and 245m in diameter. The Japanese government believes Daisen-
kofun to be the final resting place of Emperor Nintoku, the 16th emperor of Japan.
(http://en.wikipedia.org/wiki/File:NintokuTomb.jpg)
The next two periods in Japanese history, the Asuka () and Nara () periods,
are always closely associated with one another. They are named such because the seat of
Japanese government was located in the Asuka Valley, and then in the city of Nara. This is the
time when the crossover of Chinese and Korean art, religion, and languages happened, placing
Buddha and Buddhism as a new focal point in Japanese society, and thus in the world of art. In
this time period, temples became more widely spread, but were no longer for the paganistic gods
of the Jmon period, but Buddha, and Buddhist monks and priests. This, therefore, became a
time architectural development. Seeing as how the temples were built in order to please Buddha,
and be houses for his disciples, the people wanted them to be aesthetically pleasing and at peace
with nature, since Buddhism teaches oneness with ones surroundings. These types of
buildinngs, theGoj-no-ts (five story Pagodas) and Konds(literal translation Golden
Hall) became the main place of worship, with monks living in them and tending them, while
commoners visited often to pray before the large Buddha statues that were the focal piece in
most temples. However, their prayers differ from ours. They have a more formalized ritual of
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Honors Visual Arts Seminar
clapping twice, bowing once, and then clapping twice once more before they actually begin
praying.
The next period, the Heian () period, is named thusly because the capital was
transferred to Heian-ky, or present day Kyoto. During this time period Buddhist architecture
evolved even more, going so far as to stop building temples in or near cities as they had been in
the past, but instead, building them deep in mountain ranges, forcing the architects to cope with
problems of a different type, and to come up with more natural building materials that were close
at hand instead of materials that had to be carted all the way from cities that could sometime be
days, even weeks, away. Roof tops became made of Cypress bark instead of the usual ceramic
tile that had adorned the rooftops of Japan since the beginning of the kiln. Floors were made of
wooden planks instead of just being bare earthen floors, which would have next to impossible to
make practical, or comfortable, in the rocky terrain of the mountains.
In the seventh period, war broke out across Japan between two powerful warrior clans
and the winning clan, the Minamoto Clan, then created a de facto government in a village by the
sea named Kamakura, and ergo, this period was named the Kamakura period. This created a
shift, with power going from nobility to warriors, and the art followed, taking on the ever
growing realism of the time, satisfying the warriors that only cared about the skills of warfare
and the priests that wanted to make Buddhism available to the illiterate commoners of the
country.
In the Muromachi () period, also known as the Ashikaga () period,
the Ashikaga Clan took control of the shogunate (), or government, and moved it
back to Kyoto, to the Muromachi District of the city. This move back to the capitol took the art
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Honors Visual Arts Seminar
back to the more elite aristocratic way art was being made before the Kamakura period. Painters,
because of Chinese imports and the reawakening of Zen Buddhism in the Japanese culture,
began an entirely different style than before, with completely new subject matter. The paintings
were no longer flat looking, but now had a deep-space sense of depth, with a foreground, middle
ground, and background. The most significant painters of this period were the priest-painters
Shbun and Sessh.
The Edo period is when wood block prints, and thus some of the most famous Japanese
works of art that are known worldwide, became popular. Following the style ofSessh from the
Muromachi period, Hokusai Katsushika began creating wood block cuts of Mt. Fuji, and the
most well-known, The Great Wave of Kanagawa. Wood block prints became popular because
multiple prints could be made which meant that more people could own them, and so everyone
wanted to.
Art in modern day Japan still retains many, if not most, of the characteristics that were
learned throughout the many years of Japans colorful history. Today, even the written language
is considered an art form, Japanese calligraphy, which is seen on many things, including peoples
skin in the form of tattoos.