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Historical Periods 400 CE - Introduction of Buddhism Nara Period (646-794) Heian 794 - 1185

Historical Periods 400 CE - Introduction of Buddhism Nara Period (646-794) Heian 794 - 1185 Kamakura Period (1185-1392) – Samurai Muromachi Period (1392-1568) – Zen Buddhism Momoyama Period (1568-1603) Edo Period (1603-1868) (1853-opening to the west) Meiji Period (1868-1912)

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Historical Periods 400 CE - Introduction of Buddhism Nara Period (646-794) Heian 794 - 1185

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  1. Historical Periods 400 CE - Introduction of Buddhism Nara Period (646-794) Heian 794 - 1185 Kamakura Period (1185-1392) – Samurai Muromachi Period (1392-1568) – Zen Buddhism Momoyama Period (1568-1603) Edo Period (1603-1868) (1853-opening to the west) Meiji Period (1868-1912) Modern Period (1912 – present) Seated Bodhisattva with one leg pendent, Nara Period, 606 or 666 CE

  2. Western art (Greeks) - rational knowledge (beauty, harmony, ideal) The Way of the Mind - Realism (observation to represent realistically) - to glorify, magnify - art of statement - pleasing the eye with imitation, familiarity Eastern art - spiritual knowledge (internal peace and joy) The Way of the Spirit - Abstraction (seeks the essence of the universe (not the observable phenomena, not the particular) - to meditate, reflect on the mysteries of life and the insignificance of humans - art of the subtle, the nuance - please the internal eye by abstract elements understood by the soul (form, line, color, composition)

  3. General characteristics of Oriental art • Stylization and abstraction • Flatness of composition (disregard for perspective) • Depth suggested rather than emphasized • (though space is a living part of the design to an extent unknown in the west) • Little modeling of figures • Disregard of shadows • Disregard for background • (background serves only to highlight single figures or landscape features • like rocks, trees, or silhouettes of roofs or hills against misty, receding elements, • i. e most environmental and incidental detail is suppressed) • All of these features lead to an art of suggestion rather than factual statement.

  4. Japan follows: • disregard for shadowing, perspective, and background; stylization of forms • Japan adds: • Taste for asymmetry (hacho) • Cropped edges • Tolerance for paradox and duality • - Passion for precision • (extraordinary delineation, sensitive drawing)

  5. Mu Ch'i, Six Persimmons, 1270, ink on paper, Kyoto

  6. Muromachi period A few striking pictorial elements: trees, rocks, silhouettes of roofs and hills against misty elements; the background mostly highlights these elements; suggested depth Zen Patriarch Xiangyen Zhixian Sweeping with a Broom. c.1513, Hanging scroll, ink and color on paper, 5'7"x 2'10"

  7. Muromachi Period Abstraction and flatness; some suggested depth Toyo Sesshu, Splashed-ink landscapes, 1495, Hanging scroll. ink on paper. approx. 55” high

  8. Momoyama Period 16-17th cent. Hasegawa Tohaku. Pine Forest. Six-fold screen. ink on paper. 61” h Abstraction and asymmetry; space; no suggested depth

  9. Edo Period Yosa Busan. Cuckoo Flying over New Verdure. late 18th C Hanging scroll. ink and color on silk. 153” x 79”

  10. Phoenix Hall. Byodo-in Temple. Heian period. 1053, wood construction, Uji, Japan

  11. Kondo (Golden Hall). Horyu-ji. Nara. Hakuho period. c. 680, wood construction, Nara, Japan

  12. Karesansui Gardens Zen (stones, gravel, sand, moss) (mountains, islands, boats, seas and rivers) Abstraction; a few elements highlighted by empty space; stylization of forms, asymmetry, duality and paradox Nanzenji Zen temple garden, 1291, Kyoto

  13. Karesansui Gardens (Zen) Dry Garden Zen temple of Ryoan-ji, Kyoto, 1480 (15 rocks, raked white gravel)

  14. Chaniwa Gardens The tea ceremony (SADO or CHA NO YU) Aesthetic simplicity Zen tsukubai

  15. Cha No Yu or Sado Aesthetics of modesty, refinement, rusticity Spatial clarity, diffused lighting, no visual distraction undercurrent of irregularity (asymmetry of lines) The unfinished line Duality/paradox (old, tattered walls-pristine tatami) Rikyu, Taian teahouse, Myokian Temple, Momoyama period, c. 1582, Kyoto

  16. Natural materials (bamboo, wood, mud walls, rice paper windows and tatami) tiny doors tokonoma (alcove with Zen scroll or flower arrangement) shoji screens (wood frames covered with translucent rice paper) Fusuma (paper-covered sliding doors)

  17. Equipment used in the Sado or Cha No Yu (tea ceremony) Aesthetics of tea vocabulary: sabi (stillness and deprivation) wabi (sense of great loneliness or admirable shabbiness) shibui (plain and astringent)

  18. Raku Ceramics Koetsu, Tea Bowls, 17th cent.

  19. Sansetsu, The Old Plum, Edo period ca. 1645Four sliding door panels (fusuma); ink, color, gold leaf on paper, 68” h..

  20. A calligraphy set consists of: Shitajiki: Black, soft mat Bunchin: Metal stick to weight down the paper during writing Hanshi: Special, thin calligraphy paper Fude: Brush (one large, one small) Suzuri: Heavy black container for the ink Sumi: Solid black material that must be rubbed in water in the suzuri to produce the black ink which is then used for writing Kakizome

  21. Middle school student practicing kakizome (calligraphy)

  22. 17th century Japanese brush and ink handwriting Sake 17th century Japanese brush and ink handwriting Yume (dream), Calligraphy by Zen artist Qiao Seng.The hand-painted seal says "Dreaming of Butterflies”

  23. Hamada Shoji. Large bowl. 1962

  24. Hiroshi Sugimoto, Boden Sea, Uttwil, 1993, Gelatin silver print, 16 5/8 x 21 5/16”

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