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The conflicts caused by Chinese expansion in the later stages of the Jōmon Period, circa 400 BCE, led to mass migration to Japan. [1] The migrants primarily came from Continental Asia, more specifically the Korean Peninsula and Southern China, which brought over "new pottery, bronze, iron and improved metalworking techniques", which helped to improve the pre-existing farming tools and weaponry.
Outside of native Japanese inspirations, these bunjin gained Chinese influence only through woodblock-printed art books which attempted to reproduce and communicate the Southern School ideals and methods. The Southern School (南宗画, C: nan zhong hua, J: nan shū ga) came to be known as nanga in Japan. Japanese literati painters had a huge ...
Masanobu was a contemporary of Sesshū (1420–1506), a leader of the revival of Chinese influence, who had actually visited China in mid-career, in around 1467. Sesshū may have been a student of Shūbun, recorded from about 1414 (as an apprentice) and 1465, another key figure in the revival of Chinese idealist traditions in Japanese painting. [7]
After the end of the last feudal dynasty in China, with the rise of the new cultural movement, Chinese artists began to be influenced by Western art and began to integrate Western art into Chinese culture. [20] Influenced by American jazz, Chinese composer Li Jinhui (Known as the father of Chinese pop music) began to create and promote popular ...
As with the history of Japanese arts in general, the long history of Japanese painting exhibits synthesis and competition between native Japanese aesthetics and the adaptation of imported ideas, mainly from Chinese painting, which was especially influential at a number of points; significant Western influence only comes from the 19th century ...
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.
The earliest versions of the kimono were heavily influenced by traditional Chinese clothing, known today as hanfu (kanfuku (漢服) in Japanese). This influence was spread through Japanese envoy missions to China, resulting in extensive Chinese cultural adoption by Japan as early as the 5th century CE. [41]
Sesshū Tōyō (雪舟 等楊, c. 1420 – August 26, 1506), also known simply as Sesshū (雪舟), was a Japanese Zen monk and painter who is considered a great master of Japanese ink painting. Initially inspired by Chinese landscapes, Sesshū's work holds a distinctively Japanese style that reflects Zen Buddhist aesthetics. [1]