Art of Japan by Rosângela Vig

Light is the bird:
and its flying shadow,
lighter.
And in an aerial cascade
of your throat,
lighter.
And what do you remember, listening
slide your corner,
lighter.
And the desire fast
of this oldest moment,
lighter.
And the invisible escape
of the bitter passing,
lighter.
(MEIRELES, Cecília. In FARACO; MOURA, 2006.p. 222)

Cecília Meireles' poetry speaks of the lightness of the soul, of natural things, of walking through life. Talk about the subtlety of the moment, of ephemeral and fleeting images. This same spirit permeates the Culture, Education and Art in Japan, with all the elegance and subtlety. With a millennial society, Japan had its period of isolation, opened up to the world and, after the Second World War, took on a pacifist character, becoming big economically. in contemporary times, Japan bears the marks of technological evolution, leadership in robotics, of automation, of Artificial Intelligence, of high-speed trains, which earns it the classification of world power. At the same time that contemporary times are advancing by leaps and bounds, Japan goes hand in hand with education, the discipline, the cleaning, ethics and a true sense of community. And the Art that made History in this country is unique in style, varied and full of lightness.

Among the forms and presentations of Japanese art is ancient ceramics; the sculpture; o Origami; writing on silk; manga and anime; the woodcut; and the painting. Cultural refinement was carried into art, went through several phases such as the Prehistoric, in which ceramics stood out, clay figures and bronze bells. Buddhism and continental influence led to the construction of sculptures and temples and Literature and Painting along the same lines. Yamato-e were part of a third period between 794 and 1185. no period between 1185 and 1573 Zen Buddhist Art and Monochromatic Painting flourished. The heyday of popular art lasted between 1603 and 1867, with woodcuts highlighting names such as Hokusai and Hiroshige. And finally a Modern moment, from 1867 to the present day, in which the union of techniques and openness to the world stood out.

In the period Jomon, between 11.000 a.C a 300 B.C.. ceramics with rope patterns and figures with humanoid and animal shapes appeared. Metallurgy and utilitarian ceramics emerged in the period Yayoi (300 a.C a 250 a.C.). Between 300 d.C e 552 a.C., the era known as Kofun there was the construction of tombs and terracotta pottery for use in rituals. Bronze sculptures and temples reveal the influence of Buddhism and Chinese style, between 552 to 794, during a period known as Asuka and Nara. Native aesthetics were present in the period Heian between 794 and 1185, marked by vibrant color paintings, typical landscapes and Literature. Samurai influenced the phase Kamakura, between 1185 and 1333, with realistic art. Between 1338 and 1573 it was the turn of Zen Buddhism to influence the art of Japan, na fase Muromachi, with garden themes and the use of paint. The tea ceremony, the golden screens were evident between 1573 and 1603, na fase Momoyama. Popular art flourished in the period Or, between 1603 and 1868, with engravings that portrayed everyday scenes, with people, landscapes and legends. From 1868 to the present day, the period was named Meiji and Modern, when Japanese art began to use natural materials as pigment, with images of defined contours and absence of shadow. Contemporary Art artists in Japan began to work with a mixture of techniques, adding themes such as Pop Culture.

One of the most beautiful in the world, Japanese ceramics reveal influences from Chinese potters in their refined features (Fig.1). Discipline is clear in symmetrical and calculated strokes. In the field of Sculpture there are great representations linked to Religion and Buddhism. In Architecture there is a preference for natural materials and a search for the integration of internal and external spaces. Katsura Palace (Figures 2 and 3), near Kyoto makes this characteristic clear and values ​​the simplicity of lines and symmetry, with emphasis on the wood and gardens that seem to be everywhere in the interior. This characteristic influenced the architecture of the 19th and 20th centuries..

Painting

Comprising a wide variety of genres and styles, Japanese painting is refined and ancient, with peculiar aesthetic features and clear Chinese influence, mainly in references to Buddhism and in painting Sumi-ê¹ (Fig. 4), technique in which the brush is dipped in India ink. Among the themes of interest in painting, there are plants, animals, birds and flowers. Both in the professional field and in entertainment, there is a great use of the brush for painting and also for calligraphy (Figures 7 and 8).

Among the printing techniques, woodcut is known with the use of wood matrices and water-based paint, which leads to the final translucent image printing, with vivid colors. This technique was of relevant importance, presenting everyday scenes, narratives and many characters with complex details.

The use of intense colors, unconventional shapes and plans; and the asymmetry of the compositions are striking attributes of this art, which ended up influencing the Western style of the late 19th century. Japanese lines and aesthetics brought important elements to impressionist painters Renoir (1841-1919), Degas (1834-1917) and Monet (1840-1926); to the post-impressionists Toulouse-Lautrec (1864-1901) it's Van Gogh (1853-1890); to Fauvists like Henri Matisse (1869-1954); and cubist Pablo Picasso (1881-1973).

In the figure 5 it is possible to recognize one of the most iconic works of Japanese Painting, de Katsushika Hokusai (1760-1849). The big wave hits ships on the high seas that seem out of control due to the intense force of the waters. no horizon, a storm makes the ocean restless and, Mount Fuji in the background, motionless, peaceful observing everything around you. The highlight of the painting is the strong blue tones of the waters., contrasting with the foam that stirs tirelessly in a back and forth movement.

In the figure 6, the God of Wind, run away, on the left and the God of Thunder, Raijin, on the right belong to the Kyoto National Museum and are part of Japan's national heritage. The panels are two screens painted by Tawaraya Sotatsu (1570-1643) in ink on gold leaf paper. In the image, the two religious deities of Japanese Mythology are on the move, acting with its forces on the world. Their movements are light and they seem to float with their fabrics over the golden sky..

Among Japan's classical painters, it is still important to remember the names of Katsushika Hokusai (1760-1849), Kunyoshi Utagawa (1798-1861), Kitagawa Utamaro (1753-1806), Sesshu Toyo (1420-1506) (Fig. 4), Hasegawa Tohaku (1539-1610), Ogata Korin (1658-1716), Kawase Hasui (1883-1957), Kiyohara Yukinobu (1643–1682). Today, the names of Yayoi Kusama are important (1929-), the avant-garde artist famous for her installations; Takashi Murakami (1962-), the artist who flows between traditional art and anime; Yoshimoto Nara (1959-) with children's paintings; Yokoyama Taikan (1868-1958), Japanese modernist painter; Taro Okamoto (1911-1996); and Iwasaki Chihiro (1918-1974) the watercolor painter. And it is not possible to forget the names of Japanese-Brazilian artists Tomie Ohtake (1913-2015), Yutaka Toyota (1931-) and the Seibi Group, collective of artists that has been operating since the 1990s 30.

Final Considerations

I gathered all the stones
That came upon me.
I lifted a very high ladder
And I climbed high.
I wove a flowery rug
And in the dream I got lost.
(CORALINA, p.213, 2004)

Since the early days, Japanese art made clear the reference to nature, the refinement of technique and harmony. The lightness of the line accentuates the slow movements of the characters portrayed and it is evident that the aesthetic was balancedly developed in Japan..

It is also worth mentioning calligraphy and theater; manga and anime, preference for many generations. Walking side by side with technology, Art has not lost its space nor the public’s taste, which makes evident the country's search for and encouragement of Culture.

References:

1. BAUDELAIRE, Charles. As Flores do Mal. São Paulo: Editora Martin Claret, 2006. Tradução de Pietro Nassetti.
2. BAYER, Raymond. História da Estética. Lisboa: Editorial Estampa, 1993. Tradução de José Saramago.
3. CORALINA, Cora. Melhores Poemas. São Paulo: Global Editora, 2004.
4. CHILVERS, Ian; ZACZEK, Iain; WELTON, Jude; BUGLER, Caroline; MACK, Lorrie. História Ilustrada da Arte. Publifolha, S.Paulo, 2014.
5. FARACO, Carlos Emílio; MOURA, Francisco Marto. Language and Literature. São Paulo: Editora Ática, 2006.
6. FARTHING, Stephen. All about Art. Rio de Janeiro: Sextante, 2011.
7. GOMBRICH, E.H. A História da Arte. Rio de Janeiro: Editora Guanabara, 1988.
8. HAUSER, Arnold. História Social da Arte e da Literatura. Martins Fontes, São Paulo, 2003.
9. KANT, Immanuel. O Belo e o Sublime. Pôrto: Livraria Educação Nacional Ltda., 1942.
10. MASON, Penelope. History of Japanese Art. New Jersey: Prentice Hall, 1993.
11. MEIRELES, Cecília. Janela Mágica. São Paulo: Ed.Moderna, 1988.
12. SCHILLER, Friedrich Von. A Educação Estética do homem. 4^to. edição. S.Paulo: Ed. Iluminuras, 2002.

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ROSÂNGELA VIG
Sorocaba – São Paulo
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Columnist at Website Obras de Arte
E-mail: [email protected]