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This work has revolutionized the way Japanese art history is viewed, and Edo period painting has become one of the most popular areas of Japanese art in Japan. In recent years, scholars and art exhibitions have often added Hakuin Ekaku and Suzuki Kiitsu to the six artists listed by Tsuji, calling them the painters of the "Lineage of Eccentrics".
It is a term that is also used to express aristocratic culture. Miyabi eliminates all forms of rudeness and crudity from the culture. This brings about the proper picture and form of aristocratic culture. Miyabi brings about these changes. Miyabi ensures that refinement of love, literature, feeling, and art is celebrated within the Japanese ...
Painting has been an art in Japan for a very long time: the brush is a traditional writing and painting tool, and the extension of that to its use as an artist's tool was probably natural. Japanese painters are often categorized by what they painted, as most of them constrained themselves solely to subjects such as animals, landscapes, or figures.
Japanese literature throughout most of its history has been influenced by cultural contact with neighboring Asian literatures, most notably China and its literature. Early texts were often written in pure Classical Chinese or lit.
The term emakimono or e-makimono, often abbreviated as emaki, is made up of the kanji e (絵, "painting"), maki (巻, "scroll" or "book") and mono (物, "thing"). [1] The term refers to long scrolls of painted paper or silk, which range in length from under a metre to several metres long; some are reported as measuring up to 12 metres (40 ft) in length. [2]
Some of the paintings were imported directly from China. The titles of the works are descriptive rather than the artists' titles; therefore it is possible to find alternate names in the literature for a given work. [5] Beginning in the mid-6th century, as Buddhism was brought to Japan from Baekje, religious art was introduced from the mainland.
As Japan became exposed to Western culture at the end of the Edo period, many bunjin began to incorporate stylistic elements of Western art into their own, though they nearly always avoided Western subjects and stuck strictly to traditional Chinese ones. Master Kuwayama Gyokushū (1746–1799) was the acutest theorist on Japanese literati painting.
Tomoyuki Sugiyama, author of Cool Japan, believes that "cuteness" is rooted in Japan's harmony-loving culture, and Nobuyoshi Kurita, a sociology professor at Musashi University in Tokyo, has stated that cute is a "magic term" that encompasses everything that's acceptable and desirable in Japan. [18]