Dana Felipe∘Fabian Cervantes∘Thao Nguyen

Japan

History● Japanese archipelago consist of 4 main islands ( Hokkaido, Honshu, Shikoku, Kyushu )● Buddhism influenced Japanese art & architecture● Japanese culture does not reveal the isolation typical of some island civilizations but

rather reflects a responsiveness to imported ideas● Distinct culture● Close proximity to the continent promoted extensive exchange with mainland cultures● Sea helped protect Japan from foreign invaders● 2 authorities:

○ Emperor-had little real power○ Shoguns - military warriors; actual ruler of Japan

● Different families of shogun rise to power at different times● Japanese art covers a wide range of art styles from ancient pottery, sculpture,ink painting

and calligraphy on silk and paper, ukiyo-e paintings to woodblock prints● imperial court’s power = symbolic and ceremonial

Timeline● Japan and Yayoi periods (ca. 10,500 BCE-300 CE)● Kofun period (ca. 300-552)● Asuka and Nara periods (552-784)● Heian period (794-1185)● Kamakura period (1185-1332)● Muromachi period (1336-1573)● Momoyama period (1573-1615)● Edo period (1615-1868)● Modern Japan (1868-Present)

The Japanese islands

Jomon & Yayoi periods● Earliest form of Japan’s distinct culture● “Jomon” technique for pottery● Hunter/gatherers● Villages consisted of pit dwellings-shallow round excavations with raised

earthen rims and thatched roofs

Middle Jomon Pottery

● Used for storage, cooking and bone burial

● Thick and heavy● Clay coils, striped

incisions, and quasi-figural motifs

● “Rope patterned” ● Majority of Jomon

pottery have rounded bottoms

● typically smallVessel, from Miyanomae, Nagano Prefecture, Japan, Middle Jomon period, 2500-1500 BCE.

Dotaku

● Based on Han Chinese bells

● Are not musical instruments

● Cast in clay molds● Ornament consist of

simple line drawings of people and animals

● Dotaku engravings are the earliest examples of pictorial art in Japan

Dotaku with incised figural motifs, from Kagawa Prefecture, Japan, late Yayoi period, 100-300 CE.

Kofun Period● Kofun means “old tomb”● Known for Great earthen burial mounds● Haniwa sculptures represent inanimate objects, animals, and human figures,

including warriors● Haniwa sculpture represents Spiritual barrier between the living and the dead

Tomb of Nintoku● largest tumulus in

Japan is at Sukai● Identified as the tomb

of Emperor Nintoku● “Keyhole”● 1,600 ft long and 90 ft

high● objects were placed

with the coffin in a stone walled burial chamber

● objects include: mirrors, swords, jewels

Tomb of Emperor Nintoku, Sakai, Osaka Prefecture, Japan, Kofun period, late fourth to early fifth century

Haniwa

● Found on burial tumuli

● Protective spiritual barrier between the living and the dead

● Number of sculptures reflected the statue of the dead person

Haniwa warrior, from Gunma Prefecture, Japan, Kofun period, fifth to mid-sixth century. Low-fired clay

Shrine of Amaterasu

● “Shinto” religion● Most important Shinto

shrine in Japan is that of the sun goddess Amaterasu at Ise

● Constructed of wood with a thatch roof

● highlights the connection between nature and spirit

Main hall, Amaterasu shrine, Ise, Mie Prefecture, Japan, Kofun period or later; rebuilt in 1993

Shaka Triad

Tori Busshi, Shaka triad, kondo, Horyuji, Nara Prefecture, Japan, Asuka period, 623.

● Elongated heads and elegant swirling drapery

● bronze triad● major role in

making Buddhism accepted in Japan

● Hands signify peace

● Smile is genuine and welcoming

Asuka & Nara periods● In the arts associated with Buddhist practices, Japan followed Korean and

Chinese prototypes● Buddhism was introduced● Centralized imperial government was established● Nara architectures followed Tang Chinese models

Nara Statues

Yakushi triad, kondo, Yakushiji, Nara Prefecture, Japan, Nara period, late seventh or early eighth century.

● Greater anatomical definition

● Shape-revealing drapery

● Sensuous fleshiness of Indian sculpture

Kondo and aerial view of the temple complex

Kondo, Horyuji, Nara Prefecture, Japan, Nara period, ca. 680.

● Golden hall, of a buddhist temple

● housed statues of the Buddha and bodhisattvas

● follows Chinese models in its construction method and its curved lines

Aerial view of the temple complex, Horyuji, Nara Prefecture, japan, Nara period, ca. 680.

Amida Triad

● Represented the Buddhas of the four directions

● Amitabha, sits enthroned

● Worship of Amida became a trend in Japanese Buddhism

● techniques similar to fresco

● iron-wire lines● lines are red

instead of blackAmida triad, wall painting formerly in the kondo, Horyuji, Nara Prefecture, Japan, Nara period, ca. 710

Daibutsuden

Daibutsuden, Todaiji, Nara, Japan, Nara period, 743; rebuilt ca.1700

● Largest wooden building in the world

● housed a 53-foot bronze image of the cosmic Buddha, Roshana

● use of religious authority to reinforce imperial power

● Constructed by Emperor Shomu

Heian Period 794-1185● The Imperial house moves their capital north in 784, possibly to escape the

Buddhist priests in Nara.● In 794 they settled in Heiankyo (“capital of peace and tranquility”), also known

today as Kyoto.● During this century Japanese culture became much more self-directed then it

had been in the preceding few centuries.● Esoteric Buddhism and the Taizokai Mandara were both very important among

the major developments during the early Heian period.

The Womb World Mandara

Taizokai (Womb World) mandara, Kyoohokokuji (Toji), Kyoto, Japan, Heian period, second half of ninth century. Hanging scroll, color on silk, 6’ X 5’ ⅝”.

● Composed of 12 zones total.

● Each zone represents one of the various dimensions of buddha nature.

● Oldest and best preserved in Japan.

● Many of the figures hold lightning bolts,symbolizing the power of the mind to destroy human passion.

● Central motif in World Womb is the lotus of compassion.

Phoenix Hall

Phoenix Hall, Byodoin, Uji, Kyoto Prefecture, Japan, Heian period, 1053

● Most important surviving monument in Japan related to Pure Land beliefs.

● Built by Fujiwara Yorimichi in memory of his father, Michinaga.

● Buildings elaborate winged form evokes images of Buddha’s Palace in his Pure Land.

● Given its name because of its bird like shape and because of the two bronze phoenixes decorating the ridgepole ends.

Tale of Genji

Genji visits Murasaki, from the Minori chapter, Tale of Genji, Heian period, first half of the 12 century. Handscroll, ink and color on paper, 8 ⅝” high. Goto Art Museum, Tokyo.

● Narrative scroll painting like the one above was a major Heian art form.

● Features elevated viewpoints that suggest three-dimensional space

● Flat colors emphasize the painting’s two-dimensional character.

● The novel tells the life and loves of Prince Genji and, after his death of his heirs.

● Just like most of Japanese literature it consistently displays a sensitivity to the sadness in the world cause by the transience of love and life.

Legends of Mount Shigi

The flying storehouse, from Legends of Mount Shigi, Heian period, late 12th century. Handscroll, ink and colors on paper, 1’ ½” high. Chogosonshiji, Nara.

● The Mount Shihi scrolls illustrate three miracles associated with a Buddhist monk named Myoren and his mountain top temple.

● Different from the Genji scroll in both subject and style since the artist. exaggerates each feature and figure of this Buddhist miracle story.

● Depicts Myoren’s begging bowl lifting the rice-filled granart of a greedy farmer and carrying of to the monk’s hut in the mountains.

Kamakura Period 1185-1332● In the late 12th century a series of civil wars between rival warrior families led to the end of the

Japanese Imperial court as a major political and social force.

● In 1185 power shifted from the Japanese emperor to the first shogun of Kamakura (Minamoto

Yoritomo). The shoguns became great patrons of art and architecture.

● Kamakura’s painting during this period is more diverse in subject and style and includes historical

narratives.

● During this period contact with China was more positive and frequent and brought with it an

appreciation for more recent cultural developments there, ranging from new architectural styles to

Zen Buddhism.

Kamakura Portrait Statue Attack on Sanjo Palace

Portrait statue of the priest Shunjobo, Chogen, Todaiji, Nara, Japan, Kamakura period, early 13th century. Painted cypress wood, 2’ 8 ⅜” high.

Night Attack on the Sanjo Palace, from Events of the Heiji Period,Kamakura period, 13th century. Handscroll, ink and colors on paper, 1’ 4 ¼” high.

● Made entirely out of wood

● Inlaid rock crystal used for eyes became a technique found only in Japan

● Is noteworthy for its finely painted details

● Shows powerful rendering of the signs of aging.

● Diverse in both subject and style.● Is a historical narrative that depicts

the attack on the Sanjo palace in the middle of the night in which the retired emperor GoShirakawa was taken prisoner and his palace burned.

● Like other scrolls from the Heian period the artist represented the building from a sharp angle.

Amida Descending

Amida Descending over the Mountains, Kamakura period, 13th century. Hanging scroll, ink and colors on silk, 4’ 3 ⅛” X 3’ 10 ½”. Zenrinji, Kyoto.

● During the Kamakura period Buddhism and Buddhist painting remained vital as elite patrons continued to create major Pure Land artworks.

● Pure land Buddhism figure Amida was told to have a saving power and when called upon would take believers in their final moment of death to Buddha’s Pure Land

● In contrast to the other figures , Amida is still and frontal, which gives his image and iconic quality.

● Pictures of this scene were often hung in the presence of a dying person, who recited Amida’s name to ensure salvation.

Muromachi Period 1336-1573● The rise of the Ashikaga clan marked the beginning of the Muromachi Period

which was named after the district in Kyoto in which the Ashikaga shoguns maintained their headquarters.

● During this time Zen Buddhism rose to prominence alongside the older traditions, such as Pure Land and Esoteric Buddhism. Zen temples often featured gardens of the karesansui type which promoted meditation.

● Muromachi paintings displayed great variety in both subject matter and style.

Zen Garden

Dry cascade and pools, upper garden, Saihoji temple, Kyoto, Japan, modified in Muromachi period, 14th century.

Sesshu Toyo

Sesshu Toyo, splashed ink (haboku) landscape, detail of the lower part of a hanging scroll, Muromachi period, 1495. Ink on paper, full scroll 4’ 10 ¼” X 1’ ⅞”; detail 4’ ½” high. Tokyo National Museum, Tokyo.

● Zen as a fully developed Buddhist tradition, began filtering into Japan in the 12th century and had most of its impact starting in the 14th century during the Muromachi period.

● Zen temples often incorporated gardens to facilitate meditation

● A very early example of Muromachi dry-landscaping gardening.

● Muromachi painting displays great variety in both style and subject matter.

● Sesshu Toyo (1420-1506) would travel to China to study MIng art.

● Splashed ink (haboku) is one of Toyo’s techniques which has its chinese roots.

● The painter would pause to visualize an image, load the brush with ink, and then apply broad rapid strokes onto their paper.

Kano Motonobu

Kano Motonobu, Zen Patriarch Xiangyen Zhixian Sweeping with a Broom, from Daitokuji, Kyoto, Japan, Muromachi period, ca. 1513. Hanging scroll, ink and color on paper, 5’ 7 ⅜” X 2’ 10 ¾”. Tokyo National Museum, Tokyo.

● Kano Motonobu (1476-1559) was responsible for establishing the Kano style during the Muromachi period.

● Represents the opposite pole of Muromachi style splashed-ink painting.

● In this scroll a Zen patriarch is experiencing enlightenment.

● Motonobu used bold outlines to define the forms.● This painting is one of six panels depicting zen

patriarchs that Motonobu designed as sliding door paintings (fusuma) for the abbot’s room in the Zen temple complex of Daitokuji in Kyoto.

Momoyama Period 1573-1615● Also known as “Peach Blossom Hill”● Last through the 17th century● Art characterized by “robust”, “Opulent”, and “Dynamic

styles”● Gold are lavishly added to furnitures, paintings, garments,

and architectures. ● Foreign influence became more prevalent

○ Arrival of European merchants○ Hideyoshi’s invasion of Korean peninsula

Chinese Lions

Kano Eitoku, Chinese Lions, Momoyama period, late 16th

century. Six-panel screen, color, ink, and gold leaf on paper, 7’

4’’ x 14’ 10’’. Imperial Household Agency, Tokyo

● originally one of a pair● emphasize on militarism that

was so prevalent at the time● lions are mythological beasts

that have their origin in ancient Chinese legends; associated with power and bravery, which are fitting image for a military leader

● became an important symbolic motif during this period

● powerful muscled bodies, defined and flattened by broad black contour lines

● Colorful

Hasegawa Tohaku, Pine Forest, Momoyama period,

late 16th century. One of a

pair of six-panel screens, ink

on paper, 5’ 1 ⅜’’ x 11’ 4’’.

Tokyo National Museum,

Tokyo

●●●●●●

The Tea House ● Involves the ritual preparation, serving, and drinking of green tea

● a place where people can withdraw themselves from the ordinary world to cultivate the mind and spirit

● held tea in a room or section of the house

● tatami- very thick, rigid straw mats (a Heian innovation)○ accommodate the customs

of not wearing shoes indoors

○ sits on the floor

Sen No Rikyu, Taian Teahouse (interior view), Myokian Temple, Kyoto, Japan, Momoyama period, ca 1582

● tokonoma-an alcove where pictures are hang

● Guests enter from the garden through a sliding door that forces them humbly to crawl inside

● asymmetrical house● Crawl door- leave behind

worldly status so that one can be humble and equal

Edo period 1615-1868● Tokugawa rulers banned Christianity and expelled all Western foreigners

except the Dutch○ Fear of a destabilization of social order

● also known as Tokugawa Period● established capital in Edo (modern day Tokyo)● With the new stable government, the economy splurged.● There came a flow of artistic creativity.● Schools of painting, decorative arts such as ceramics, lacquer ware,

textiles, and metalwork flourished like never before○ Ukiyo-e = “pictures of the floating world” ○ Literari Paintings○ Woodblock prints

Katsura Imperial Villa

Eastern facade of the Katsura Imperial Villa, Kyoto, Japan, Edo period, 1620-1663

● became the standard for Japanese domestic architecture

● raised floors= keeping the floor dry and give hierarchy to the place

● relies on-○ textures: stone, wood, tile,

and plaster○ subdued colors○ tonal values

● all materials were rubbed and burnished all surfaces to bring out its naturalism

● asymmetrical plan (contrast to the usual country homes, temples, and religious complex)

● Simplicity

● 3 shoins gave it an irregular,

staggered, or stepped out

shape

● based on tatami 3x6 ft

module

● offer a variety of space

● no grand hallway

● Fusuma- sliding panels

○ separates each room

○ subcategory of shoji

○ shoji-white translucent

screen door

● residents can reconfigure the

shoin to meet their needs

● reflects the values of tea ceremonies, of simplicity, reticence and natural harmony

Yosa Buson, Cuckoo Flying over New Verdure, Edo period, late 18th century. Hanging scroll, ink and color on silk, 5’ ½’’ x 2’ 7 ¼’’. Hiraki Ukiyo-e Museum, Yokohama.

● Painted by Yosa Buson (1716-1783)

○ master of haiku

● Literati painting ○ developed

from the Chinese

● rounding the landscape forms

● soft texture from fine fibrous brush strokes

● dense foliage patterns

● distinctive palette of pale colors

● similar to Pine Forest

Suzuki Harunobu, Evening Bell at the Clock, from Eight views of the Parlor, Edo period, ca.1765, Woodblock print, 11 ¼’’ x 8 ½’’. Art Institute of Chicago, Chicago (Clarence Buckingham Collection)

● black outlines to separate distinct colors

● typical Japanese elevated viewpoint

● one appears to be drying herself after a bath while the other is looking the chiming clock

● objects and women are flat

● rich colors● nishiki-e = brocade

pictures; multicolored prints

KATSUSHIKA HOKUSAI, The Great Wave off Kanagawa, from Thirty-six Views of Mount Fuji, Edo period, ca.1826-1833. Woodblock print, ink and colors on paper, 9 ⅞’ x 1’ 2 ¾ ‘’. Museum of Fine Arts, Boston (Bielow Collection

● Polychrome ink (multi colors) and color on paper

● Flat, strong lines unrealistic, nature

● Draws on Western techniques and colors called Prussian blue

● flat wave with powerful graphic forms

● the foreground is filled with a massive cresting wave

● Mount Fuji looks as if it’s going to be swallowed by the wave too

Modern Japan 1868-present● Tokugawa shogunate toppled in 1868 ---> opened the modern era of Japanese history

● Western styles and techniques had great influence

● Japanese artists incorporated shading and perspective in their works and even produced oil paintings

● Japanese architects achieved worldwide reputations in the post-WWII period

○ concrete-and-steel buildings

● contemporary art is multifaceted, and the traditional and the modern flourish side by side

● consists of both Meiji and Showa Period

TAKAHASHI YUICHI, Oiran (Grand Courtesan), Meiji period, 1872. Oil on canvas, 2’ 6 ½” x 1’ 9 ⅝”. Tokyo National University of Fine Arts and Music, Tokyo

YOKOYAMA TAIKAN, Kutsugen, Itsukushima Shrine, Hiroshima Prefecture, Japan, Meiji period, 1989. Hanging scroll, color on silk, 4’ 4” x 9’ 6”.

● Nihoga = combination of perspective derives from Western techniques with bright hues

● Low horizon line and subtle shading effects

● composition in one corner (East Asian techniques)

● strong ink brushwork to define contours● applying washes of water-and-glue-based pigments● heavy mineral pigments● Depicts Chinese poet who fell out of the emperor’s favor and committed suicide

TANGE KENZO, national indoor Olympic stadiums, Tokyo, Japan, Showa period, 1961-1964.

● a cable suspension system that allowed to shape steel and concrete

● subtle curves or structural cables● sweeping roof planes● symmetrical structure● curving concrete base

● 2 arenas:○ small arena: house approx. 5,300

people■ used for small olympic

events○ large arena: house 10,500 people

■ primarily for swimming and diving Olympic competition; later added ice hockey and basketball

Tsuchiya Kimio, Symptom, Showa period, 1987. Branches, 13’ 1 ½” x 14’ 9 ⅛” x 3’ 11 ¼”. Installation view, Jeune Sculpture ‘87, Paris 1987

● constructed of branches or driftwood● assort the life forces found in natural materials ● reflects Shinto principles

○ “Way of the Gods”○ worship nature and ancestors

● “to bring out and present the life of nature emanating from this energy of trees….It is as though the wood is part of myself, as though the wood has the same kind of life force.”

● nature= peace ● spirals represents continuity of life● created into shape instead of materialistic

things● the light reflects off from it and creates an

enlightened look

Questions1. What was not a purpose of the

Jomon pottery?a. used to hold soil for

farmingb. storagec. bone buriald. cooking

3. Which religion predominantly influenced Japan the most?

a. Christianityb. Buddhismc. Hinduismd. Confusion

2. The Kofun period was best known for …

a. Great earthen burial moundsb. the arts associated with

Buddhist practicesc. the “jomon” technique for

potteryd. answer choices b and c

4. What type of style had greatly influenced Modern Japan era?

a. Chineseb. Koreanc. Easternd. Western

EssayCompare and contrast the Katsura imperial villa to The tea house. How did these architectures represent their significant time period? Explain.

Textbook / Photos Citation● Kleiner, Fred S. Gardner’s Art Through the Ages: A Global History._Cengage Learning, 2009. Print.

● https://upload.wikimedia.org/wikipedia/commons/0/09/Shokin-tei.jpg

● http://instructional1.calstatela.edu/bevans/art101/art101b-11-japan/WebPage-ImageF.00028.jpeg

● http://www.metmuseum.org/toah/hd/edop/hd_edop.htm

● http://www.placestoseeinyourlifetime.com/wp-content/uploads/2015/05/Himeji4-980x651.jpg

● http://www.metmuseum.org/toah/images/h2/h2_shoin_room.jpg

● http://www.metmuseum.org/toah/images/h2/h2_1987.342.1,2.jpg

● http://167.206.67.164/resources/humanities/review/ArtHistory/Gardner%20Art%20History%20Chapters%20Study%20Guide/..%5CG27.a/Taian%20teahouse.%20Myokian%20Temple.jpg

● http://www.oberlin.edu/images/Art250b/251-080.JPG

● https://s-media-cache-ak0.pinimg.com/736x/75/c8/67/75c8678958804e655dbcb48794044d1c.jpg

● https://upload.wikimedia.org/wikipedia/commons/thumb/c/c0/Tearoom_layout.svg/220px-Tearoom_layout.svg.png

● http://www.slideshare.net/Gari125/art-of-japan-2

● https://www.khanacademy.org/humanities/art-asia/art-japan/edo-period/a/hokusai-under-the-wave-off-kanagawa-the-great-wave

● https://classconnection.s3.amazonaws.com/775/flashcards/1793775/png/screen_shot_2014-02-06_at_80618_pm-1440A2FF8482765AAE4.

● http://www.wa-pedia.com/history/heian_period_era.shtml

● http://www.japanesesearch.com/japans-heian-period-from-794-to-1185/

● http://www.onmarkproductions.com/html/mandala-guidebook.html

● https://en.wikipedia.org/wiki/By%C5%8Dd%C5%8D-in#/media/File:Byodoin_Phoenix_Hall_Uji_2009.jpg

● https://www.studyblue.com/notes/note/n/japan/deck/6074763

● https://www.studyblue.com/notes/note/n/chapter-8-japan-before-1333/deck/1271322

● https://www.studyblue.com/notes/note/n/arh-2500-test-2/deck/9675755

● https://www.artsy.net/artwork/japan-kamakura-period-section-of-night-attack-on-the-sanjo-palace

● http://instructional1.calstatela.edu/bevans/art101/art101b-11-japan/WebPage-Full.00017.html

● https://www.studyblue.com/notes/note/n/arth-105-identifications-/deck/746994

● https://www.studyblue.com/notes/note/n/final-exam/deck/2756074

● https://www.studyblue.com/notes/note/n/chapter-six-flash-cards-/deck/6154213