Arts all over the world are appreciated not only for their beauty but also for their significance to history. Most arts, if not all, tell the story of a nation during the period in which they were created. Historians can compare civilizations of different nations through these arts, determining which developed first and which interacted with each other.
The purpose of this paper is to compare and contrast Chinese and Japanese art during the period from 1650 A.D. to 1900.
Background of the Study
Chinese art has a history of 4000 years. It is acknowledged to be superior in comparison to some other cultures, especially with regards to technical perfection. For centuries, it continued to flourish under the patronage of Chinese dynasty rulers (Crofton 326). The subject matter primarily concerns the mysteries of nature developed out of their love for meditation. Art was made with reverence for Buddha, and paintings were governed by accepted traditional patterns of brushstrokes (Gombrich104).
From 1644-1911, China was ruled by the Manchu’s from Mongolia. This reign was called the Qing (pure”) dynasty. During this period, China enjoyed peace and prosperity. The Manchu rulers admired Chinese culture and supported its arts’ advancement (Fiero 93).
Japanese art has its roots in Chinese art, which was introduced to Japan by Buddhist monks during the 6th and 7th centuries. However, the Japanese added their own unique artistic ideas to create a distinct style. One example is the use of translucent many-sided screens as a canvas for painting. Another is the use of a gold background when painting animals or trees (Shapiro 2791). From 1603 to 1868, Japan was ruled by the Tokugawa shogunate, which was characterized by military commanders holding power.
This was also acknowledged as a year of peace and prosperity for the Japanese. During this period, the shogunate sponsored the advancement of Japanese arts (Gardner 387). Both Japan and China isolated themselves from the western world due to fear of foreign influence. However, they were not entirely successful in blocking out western culture from their arts. In fact, by the 18th century, Japan had embraced some art techniques and ideas from the west (Gombrich105). China’s Manchu rulers were also interested in western art, which was introduced to them by Jesuit missionaries (Fiero 88).
Discussion
1. Painting Motivation
Chinese painters during this time can be categorized as traditionalists, individualists, and court painters. The traditionalists were elite artists who utilized old models from past dynasties to enhance Qing art. They recreated landscape paintings by studying the old system of Chinese art, particularly those advocated by the Song dynasty’s descriptive style and the Yuan dynasty’s calligraphic brushwork. On the other hand, individualists were artists who did not limit their painting style to the Old school.
The paintings of Zhu Da and Shitao were characteristically less controlled. The court and professional artists employed by the Manchu rulers belonged to this category. Popular artists like Zhu Da and Shitao were known for their unique styles. Zhu Da’s paintings were influenced by Zen painters of the Song era who advocated simplicity, but his paintings looked more indistinct. On the other hand, Shitao was more concerned with motion and used his technical ability to create areas of blue or pink wash (“Chinese Art and Architecture”).
The Japanese arts of this period were predominantly secular and emerged as a response to the needs of warlords and the middle class (Crofton 327).
2. Subject Matter
Both China and Japan continued to paint using their traditional art forms of landscapes and figures. However, due to western influence, Japan added a new subject to their art – scenes of everyday life of the people living in the Japanese capital Kyoto. This form of art is called Ukiyo-e or simply means “pictures of the floating world”. The scenes were not limited to just the fashionable rich but also included the poor such as peasants and popular actors from Kabuki theaters (Benton 513). Examples of such scenes include people walking in the countryside, crossing a street, and going to market (Shapiro 2791).
COLOR AND DESIGN
By the 17th century, the Japanese had begun to employ woodblock prints. These prints were made using woodcuts, which involved carving designs into blocks of wood. This technique allowed for mass production of prints, making them affordable for the masses. Initially, these prints were only available in black and white; however, in the 18th century, polychromatic printing was discovered much to the delight of artists (Gardner 393-394). Some popular woodblock print artists from this time period include Utamaro (1753-1806), Hokusai (1760-1849), and Hiroshige (1797-1858). Utamaro’s subjects mainly consisted of women while Hokusai and Hiroshige focused on landscape paintings (Benton 513-514). As a result of Western influence, Chinese painters began to incorporate shading techniques into their art.
This style of painting is known as chiaroscuro, which involves the dramatic use of light and shade. It was studied by both individualist and court artists (Crofton 333). The Chinese and Japanese were also involved in linear perspective, which draws distance, sizes, and relative positions to correspond to actual ones. They were also influenced by Western oil-painting styles (Fiero 92). However, the Japanese were particularly admired for their visual drama” in painting. Rather than showing the entire figure in their paintings, they often drew unconventional and unexpected elements that influenced European impressionists. For example, when drawing Mount Fujiyama, Hokusai (1760-1849) would “represent the mountain scene as if by chance behind a scaffolding” (Gardner 417).
Ceramics and Decorative Arts
In this era, both China and Japan greatly improved their ceramic wares, craved jade, and lacquer wares. However, the Chinese were particularly known for their ability to design minute details on blown glass. They also made wooden furniture for the wealthy in China (Chinese Art and Architecture”). While they experimented with many shapes, Japan had bolder designs.
Both Chinese and Japanese artists use bright colors in their landscape, flower, and animal drawings on ceramic wares. According to Chinese Art and Architecture” and “Japanese Art and Architecture,” they often utilized five colors for their porcelains that range from orange to green and gold. The Japanese also incorporated blue and white in their porcelains while using a special range of colors in overglaze enamels. In contrast, the Chinese mostly used blue for underglazed works, creating a distinct style compared to the Japanese (Fiero 91,93). During this time period, both China and Japan made advancements with their enameling techniques (Crofton 327; “Chinese Art and Architecture”).
Architecture
During this era, the architectural styles of both China and Japan continued to emphasize harmony with nature. Gardens were adorned with rocks, bamboo, and ferns to create a serene atmosphere that was ideal for meditation. Covered walks lined the gardens for leisurely strolls. Both countries favored roofing with projecting eaves, and preferred spacious interiors with minimal details. Chinese architects of this time utilized stones, glass, and bricks in their structures.
The Japanese, however, used wooden materials to build their houses. The use of stone in Japan was limited to structures such as castles for defense. As a result, fires and earthquakes easily destroyed Japanese homes. It wasn’t until 1868 that the Japanese began to copy the West by using steel and concrete in construction. One unique aspect of Japanese architecture is their use of thin walls. Since roofs were supported by posts and beams, walls mainly served as partitions rather than support for the roof. The Japanese also utilized sliding panel doors which could be removed or contracted so that there was no division between the interior and exterior veranda. Both China and Japan utilized screens to divide rooms within a house.
However, the Japanese use bold designs for their screens, featuring brightly printed pictures of landscapes, flowers, and animals. They also incorporate multipanel screens. As a result of Western influence, particularly from France, Qing architects experimented with various designs in Buddhist buildings. Examples include the Yonghegong and Chengde structures in Beijing. The Katsura Imperial Villa near Kyoto is the most popular example of Japanese architecture during this time period. It illustrates simplistic Japanese architecture (Fiero 89-93) and (Rutherford 114-119).
THEATER ARTS
Both China and Japan have theatrical arts that employ only male actors. For female roles, the male actors will dress themselves as females (known as Onnagata). In Japan, this theatrical art is called Kabuki and it arose in the mid-seventeenth century. To correspond with the domestic, historical, and literary themes of their shows, Japanese Kabuki performers use elaborate costumes and scenery. They also have fixed rotating stages with trapdoors for actors to use when appearing or disappearing.
They also have a footbridge. The performance is accompanied by traditional Japanese instruments. On the other hand, Chinese performers use minimal costumes and scenery since they conduct their show from one city to another. Their performances include mimes, dance, and the use of traditional instruments (Fiero 92-94).
Conclusion
Both the arts of China and Japan were influenced by the Western world from 1650 to 1900 AD. Both countries incorporated their traditional art styles with those introduced by Westerners. It can be observed that until this period, Japanese art was still an adaptation of Chinese art, but they also added their own styles, techniques, and ideas.
Works Cited
- Benton, Janetta Rebold and Robert Diyanni. Arts and Culture: An Introduction to Humanities. New Jersey: Prentice Hall, Inc., 1999.
- Chinese Art and Architecture,” Microsoft® Encarta® Online Encyclopedia 2007. Retrieved July 7, 2007 from http://encarta.msn.com/encyclopedia_761569371_6/Chinese_Art_and_Architecture.html.
- Gardner, Helen. Art Through the Ages, 3rd ed. USA: Harcourt Brace and Company, Inc., 1948.
- Gombrich, E.H. The Story of Art. Singapore: Phaidon Press Limited, 1989.
- Fiero, Gloria K. The Humanistic Tradition,3rd ed.Hong Kong: McGraw-Hill Companies Inc.,1998.
- “Japanese Art and Architecture,” Microsoft® Encarta® Online Encyclopedia2007.Retrieved July7 ,2007 fromhttp://encarta.msn.com/encyclopedia_761577854/Japanese_Art_and_Architecture.html.
- Rutherford ,Scottand Brian Bell.Japan.Singapore :APA Publications GmbHand Co . ,2004 .
- Shapiro ,William.The New Arthur Mee’s Childrens’Encyclopedia.Canada :Grolier Limited ,1978 .
