Japan 's Influence On European Art

I believe that the Japanese shoguns and European patrons were very comparable in their own respective manner, and that their idea of "art" had the same connotation. European society at that time believed that everything they did revolved around God, or religion; as this was reflected in the arts. Similarly, Japans version of this religion was Zen Buddhism, in which their lives gyrated around this belief. Both cultures were obsessive about they're idealistic views, and expressed it through artistic talents. Although these two cultures believed in differing ideologies, their desire for what they did believe in influenced their art, and way of life; which makes them very much alike.

French impressionists such as Gaugin, Manet and Monet are some of the many who were overcome by this bombardment of Asian art. Morimura has introduced wit into this work by substituting rose leaves in the place of fig leaves to hide his genitals. This can be seen as a form of revenge on Manet for he was a ‘pupil’ of Japanese art. This mystery of sexual identity also leads to a sense of intertextuality that stems from Morimura’s role as an androgynous critic.

Chapter One selects works of art from a wide variety of cultures and times. What might you not notice about Fig. 1-8, if you did not know that the Mugal ruler Akbar believed that “a synthesis of the world’s faiths would surpass the teachings of any of them.”

The writer went to the Leepa-Rattner Museum at Tarpon Springs campus of St. Petersburg College. Before the visit, one went to the museum webpage and read about the museum and current exhibitions. It showed the " East meets West: New Japanese Traditions." Therefore, one was expected to see the Japanese style of art, like dragon and Japanese cherry blossom. At the beginning, one's feeling was perplexed, because the exhibitions were a mismatch with one's thought, but one could find the section for the Japanese art. In addition, this paper will cover about the museum, its artifacts, and relationship between humanities and art.

Japan is been always known for their unique artstyle, but none is more influential on both Japanese and western cultural than Katsushika Hokusai. Many consider his paintings the pinnacle of art in the Edo period. The old man of many names is a true part of both japanese and art culture.

By analyzing the history of Kusama, a fundamental explanation or motive for the themes of Kusama’s art can be gleaned. Yayoi Kusama was born in 1929 in Matsumoto, Japan during a tumultuous time of economic crises. The Japanese population was extremely oppressed by the Japanese military as the Great Depression reached Japan. Kusama began to express enthusiasm in making art as she began exhibiting her work in her teens; however, her family was not supportive of her interest and tried to influence her towards a conventional path of becoming a traditional Japanese housewife. Kusama’s relationship with her family, and especially the relationship with her mother, was a contributing factor to her anger against any kind of political and social oppression. Kusama’s mother was a disciplinarian figure in the family and tried to force her daughter to follow traditional gender roles, which disregarded Kusama’s aspiration of professionally pursuing art. However, Kusama’s creative ambitions were not curtailed by her family’s conflicting interests or the demanding work called upon her following the outbreak of World War Two.

Seurat is commonly known for being a post-impressionist painter whose work did not signify the fluid and naturalism of impressionism. He used highly calculated geometry to develop his compositions and perfected the technique of pointillism, a method of placing small dots or brushstrokes made out of pure color right from the tube of paint. When viewing Seurat’s, A Sunday Afternoon on the Island of La Grande Jatte (1884-1886), you recognize the pointillism technique making up the entire composition, as well as Seurat’s reaction to the 19th-century social hierarchy in Paris. This colossal artwork, measuring in at 7x10 feet, shows the day in the life of a bourgeoisie person. The figures represent a range of bourgeoisie types that would have been easily recognizable to the 19th century viewer with their confident stance and expensive attire. Unfortunately, many are unsure what Seurat was trying to translate in this work. One theory believes that Seurat is mocking the barren habits and unyielding attitudes of the upper-middle

Changes and evolution to the world usually means that the people’s beliefs and customs change and evolve as well. With people’s minds and thoughts becoming different than before, the art produced changes in ways as well. Near the beginning of the 1800s the world was being to go through dramatic shifts of ideologies and policies that were crucial for the years prior, and Japan was no exception from this. Japan, at the start of the nineteenth century, experience an extreme adjustment of their own isolationist, conservative views that was prevalent during the Edo Period, to the widespread push of modernization and engagement towards the rest of the world. Because of this, Japan was more accepting and welcoming towards other forms of social, political

In Dany Chan’s article, Adding Flowers on Brocade: Shared Aesthetics of a Qianlong Porcelain and Rococo Textiles, he analyzes the style of vases that were produced during the Qianlong dynasty (1736-95) and compares them to the textiles of the Rococo styles that help shape such styles. Chan opens the article with a brief description of the QIanlong dynasty great accomplishments in the ceramic arts, emphasizing the flamboyant style of the vases. He argues early on, that not enough time is spent discussing how the style came to be and later expounds on the technological advances and cultural influences that contributed to the production of such a unique style. that the works were heavily inspired by the European styles. He shows parallels and

The Edo era was the final period of traditional Japanese governing. This period, governed by Tokugawa shoguns, propelled art and common folk in Japan into a new era. Ukiyo-e, a genre of woodblock prints, is a japanese art form that came to be during this period. The invention of this kind of woodblock print has it’s own long and beautiful history in shaping the Japanese art and culture, but it also has had a massive impact on western modern art history. As the described the genre of ukiyo-e, we need to understand what it is and how it has impacted future artist.

Yayoi Kusma’s art work has been a great influence on two of the most important art movements: pop art and minimalism. Her work ranged from paintings, performances, installations, film and fashion. Yayoi Kusama, who was a self-described “obsessional artist”, was born on March 22, 1929 in Matsumoto City, Japan. She was born into a prosperous and conservative family. By the age of ten she began experiencing hallucinations and drawing her famous polka dots and net motifs. She used watercolor, pastels and oils. She had little formal training, at around 20 years old she left home to pursue her career at Kyoto Municipal School of Arts and Crafts for one year. While there she studied nihonga. Nihonga is the traditional Japanese painting technique.

Japanese artistry, for many, is seen as a style dominated by Buddhist representations and Chinese, Korean, and Indian influences. However, despite what one might believe, Japanese art once was its own style that differed greatly from other cultures. In fact, art historians can date the earliest form of art back to around 10,500 BCE, where the first distinct culture of Japan was discovered almost ten millenniums before the birth of Buddha (Gardner et al. 17-1a). This early culture existed for three periods of an independent, evolving culture; the Jomon, Yayoi, and Kofun periods. Even after outside influences began affecting Japanese art and culture, their art and architecture still remained unique from other civilizations of the time such as

usually the art was printed onto linen then put in the books. the first response of the Japanese to western art forms was open hearted acceptance. the second response was a pendulum swing in the opposite direction spearhead by okara ozaku and the american ernest fenollosa who encouraged Japanese artist to

In this essay I will talk about Japanese art mainly in the Edo period and it’s development and what influenced it and how these art pieces affected the western art.

This Paper will be an analysis of the development of Japanese landscape painting, analyzing the historical context behind these paintings and what led to the changes in style. Both of these paintings are representative of their specific culture during this rapidly changing time and these changes will be discussed in relation to the artwork. I am going to be discussing Japanese landscape painting, the outside influences shaping Japanese landscape painting but also focusing on the internal elements of Japanese culture shaping the style of artworks. The changing techniques and styles as well as the changing political climate will all be looked at.