The Jomon, Yayoi, And Kofun

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.

Japanese art is very simplistic and understated. There are many different forms of ancient Japanese art: pottery, calligraphy, sculpture, ink paintings, origami and many more. Decorated clay vessels are the very earliest art forms discovered from around 11,000 to 300 B.C. When Buddhism came to Japan, it also began to have an impact on the art. Even though Japan is an island and was isolated both physically, geographically, as well as culturally its art was influenced by the Chinese and Korean cultures, which the Japanese would use in ways that fit their own culture. A major influence on the art of Japan was the Wabi-Sabi philosophy, which infiltrates all aspects of the Japanese culture,

Pottery styles and decorations evolved during this time as Minoans used particular firing techniques and shaped pottery into designs such as ?teapot? shapes and tall, beaked pitchers.? Toward 1900 BCE, the end of this period, known as the Pre-Palace Period, the first polychrome pottery was made (?Minoan,? Dilos).

However, the golden age of Japanese ceramics did not really begin until the sixteenth century when the tea master Sen no Rikyū popularized the tea ceremony. In his refinement of this art form, Rikyū found beauty in the earthly and natural forms of pottery and thus commissioned the production of “raku ware,” which today, is considered the pinnacle of Japanese pottery. Notable for its ruggedness and imperfections, raku ware made Rikyū into a central figure in the establishment of the wabi-sabi aesthetic. In the beginning, the textures and colors of wabi-sabi vessels were left to develop naturally. However, over time, several wabi-sabi artists began experimenting and even developed techniques to intentionally create these alterations. Obviously, the exact shape and form of an imperfection cannot be controlled but the intention can be realized in an oxymoronic “controlled natural look.”

Burial mounds were adorned which means made either using clay sculptures in the form of warriors, shamans, animals and birds.

This shows a cultural trace by design but not by material. It is meant that while the artist created this piece in the form of an Onggi pot the clay was made in America so there are color variations within the clay itself that is structurally different from the clay that you would see in South Korea. Looking at it you can kind of see a permanence of what I consider an elegant form which for some can fully appreciated by its active use of where it is placed within the Archie Bray building. Through other keen observations of this particular piece you can feel or observe the shared experience from the creator from the thought process and idea of where its original form came from and you have a sense of how it was developed and then became permanent here at Archie Bray. It allows the observer to get a hint of Hawaii’s culture and South Koreans culture within this piece and the idea of sharing this experience with the viewer. What do I mean by that? Well, it seems that there are significant similarities in the designs between Hawaiian culture and South Korean culture be implemented on to this piece has allowed me to see in a different light of what each viewer might get as an experience. So in this light has developed a refined body of a vessel that is reflective of unique ceramic pursuit in today’s social pluralism. Plus these two distinct bodies of work, derived from many years of disciplined studio practice illustrate focus. Both sense of order, throwing and finishing technique. Because I know how the Onggi pots are made by large paddled coil-built fermenting jars and the use of a wheel-thrown and carved vessel. Then the practiced of wood fire methods that gives the mingei folk craft aesthetics. This also gives it an organic form. Then to think about how he the artist or how the craftsmen prepared the harvested stoneware clay, while following precise protocols

Historians and Archaeologists discovered many pottery that can be traced back to distant villages in Japan and even China which tells historians that Kusado Sengen was probably connected to wide regions of Asia through Seto Inland Sea. Source C (pottery) is a Tokoname Ware jar that was one of many types of earthenware which was the most common type of pottery. This showed that Japan had clay, knew how to turn it into ceramics. Archaeologist were also able to find some everyday wooden objects such as bowls with fancy art on them which was able to give historians an understanding of medieval Japaneses art. Source B (wooden objects) depicts an artist impression of a lacquerware bowl which is a wooden bowl with a layer of lacquer which gives it a shiny look. This proved that Japan had access to lacquer and

Moreover, one last theory of the origin of haniwa comes from the Nihon Shoki, one of the earliest recorded histories of Japan composted in 720 A.D. (Aston). The passage states that an emperor demanded a substitute be found for the mass sacrifice and burial of live attendants upon the death of a member of the imperial household. Therefore, the clay workers got together to construct a large amount of clay figurines of horses and people to be used instead. During the Kofun period, highly aristocratic societies with militaristic rulers developed. The cavalry wore iron armor, fought with swords and other weapons, and used advanced military methods. Many of the armor of the people and horses are represented in the haniwa, which many support

The Asian Art Museum offered a plethora of antique art-pieces from South Asia, the Persian world, West Asia, the Himalayas, and the Tibetan Buddhist world, covering 6000 years of art and culture. There are pieces that stand out more than others, for my case, these two pieces were The Ritual Wine Vessel (so-called yayi jia) and the Hindu Deity Vishnu. The Ritual Wine Vessel, made from bronze, dates back to 1300-1050 BCE, laying within the Chinese Shang dynasty (approx. 1600-1050 BCE). This piece was found in China, Henan province, and was made by an unidentified artist. On the other hand, the Hindu Deity Vishnu, made from phyllite stone, dates from 1100-1200 CE in the Indian Pala period (c. 850-1310,). This sculpture was found in India or Bangladesh,

Japanese artist Katsushika Hokusai helped expose the Western world to Japanese customs and beliefs. His crucial impact on culture and art can be attributed to his notable and familiar depictions of Japan’s geography, architecture, and people that surrounded him. Hokusai’s unique blend of traditional Japanese methods and Western mediums made his work a source of inspiration for many European artists during the Impressionism era such as Van Gogh, Monet, and Degas.

Art forms and style descending from the Mycenaean age are called sub-Mycenaean, and its pottery were described as “slack shapes and ineffectual decoration” (Sparkes 1996). Evolving from the sub-Mycenaean was the ‘Protogeometric’ around 950 BC. Pottery from this age was commonly done on the wheel and fired at temperatures higher than they were during the sub-Mycenaean times (Sparkes 1996). Decorative patterns like paintings and incision during this time was described as particularly uniform, mainly consisting of circles, semi circles and waves, with human figures absent (Sparkes 1996). Sparkes had also identified two main groups of pots from this age, those that are light ground with decorations painted using “black-glaze paint on orange-red clay” and dark grounds, “Coated with black-clay paint” (Sparkes

The Japanese style pot cultures organized on the six-storey shelf, six pot cultures on each storey, all these are arranged neat anyway. In the bonsais be putted some decorations such as frog statue, pavilions, shells and stones. In this work no person exist but at every turn shows human life, for example, on the workbench scattered about tools of trimming pot, also a

Japanese art has had a huge impact on the Japanese culture. It was created in various forms. New styles and techniques were created like sculptures, paintings and pottery. Mirrors have played a big role in their culture and was incorporated in people’s everyday routine. It has significance in their lives and symbolizes several things for them, especially the Japanese Bronze Mirror. The mirror symbolizes the value of the Japanese culture and itself is a beautiful image to look at. In this culture, their beliefs and values teaches important things to us and shows how their tradition is something more than art.

Buddhism had an important role in the development of Japanese art between the sixth and the sixteenth centuries. Buddhist art and religion came to Japan from China, with the arrival of a bronze Buddhist sculpture alongside the sutras. Buddhist art was encouraged by Crown Prince Taishi in the Suiko period in the sixth century and Emperor Shomu in the Nara period in the eighth century. In the early Heian period Buddhist art and architecture greatly influenced the traditional Shinto arts, and Buddhist painting became fashionable among the wealthy class. The Amida sect of Buddhism provided the basis for many artworks, such as the bronze Great Buddha at Kamakura in the thirteenth century. Many of the great artists

China is considered to be the first modern state in the world and has existed for thousands of years. Throughout the millennia, this civilisation and its people have continued to develop the cultural practices such as sacred teachings, which consequently has influenced their art style. Therefore, in this essay I will explore and compared themes such as Confucianism, Taoism and even their written word and how those have influences art in China through the ages.