这篇文章讲述了日本艺术如何作用西方艺术形式
The origin of Japanese culture can trace its history back to the ancient era of Rope(around 10,000 to 300 BC), it had started about 12,000 years before Chinese culture transformed the face of Japan. That is to say, Japan has been specializing in drawing industry for a long period of time. The most typical cultural legacy during this period was earthenware, thus the name ‘The Era of Rope’ because ornament on the earthenware was mainly embossed by rope (Hamdzun & Nrimah, 2017). Throughout the history of human civilization, such gorgeous and complicated ornamentation together with engraving is a rare quality and is regarded as the original purely abstract sculpting activity of the Japanese nation.Though Japanese culture of its early stage are characterized by being burgeoning, savage and irrational, within it underlie innate vigor and positive aspect of the future development of Japanese culture, this is why it is still the core part composing of the Japanese culture. Even if changed several times later, it is always and only a change of form instead of core part of culture, which is core of rope. The Ukiyo-e block prints appeared during the Edo Age of Japan epitomized the painting of Japanese art, which expressed the unique spirit of the Japanese nation. Asymmetrical composition is the attraction of Japanese Art that shocks the West. As an unique aesthetic consciousness,it of the left and right imbalance in the sense of the jumping connects closely with the Japanese view of life and life consciousness. This concept is to grasp a certain unite in a whole rather than breaking the coordination and imitating the natural inequality, then arrive to the higher harmony. In the Japanese aesthetic consciousness, “asymmetry” “irregularity”and “uneven” actually imply something more symmetrical, more regular and evener. (Wicks, 2017). Because in human visual memory, discontinuous shapes have the potential to grow. So people can shape different complete forms according to their own mental experience that can expand and enrich the expressive power of the visible shape. Compared with other concepts, Japanese has the most special and unique ideas. These concepts make many wonderful paintings and enrich the world art museum. Other main character of Japanese art“fractionated enlarge” traces from the above. Push the main part of picture near to eyes as possible, so that the main part was cut by the edges. Then the expressive space will expand outside the as the psychological hint of the subject complete. Compared with the principle of realistic painting n the West, Japanese painting does not aim at the complete of subject and painting space. In the eyes of the Japanese , the incomplete form and flawed fact can help to convey the mental ideas. Because the perfect form can easily capture the attention to the appearance but ignore the inside facts (Carey, 2017). In the process that people complete the incomplete things mentally and psychologically, can we close to find out the natural fact and truth.We can not tell which is the best concept, cause the difference better than the same one and simple one. I think, the essence of one painting is inside nature, but not the outside and shapes. The painters of Ukiyo-e not only established a set of complete stylized techniques, but formed abstract visual plane design like perfect patterning and ornament. In fact, the stylized techniques are even very helpful at present time. The Japanese fine art, represented by Ukiyo-e block prints, is most notably the asymmetrical composition of pictures in style. When looking at the Ukiyo-e scenic paintings of Katsushika Hokusai and Utagawa Hiroshige, one can find many compositions like: asymmetry, or large blank space, or the main picture deviates to one side as even to be cut off. Or a bold and dynamic composition from middle of the picture to its main body, this is depicted by linking invisible and potential slant lines, whose result is a visual expression that is dynamic and changeful. This is not simply a manipulation technique or imitating the imbalance of nature, but a pursuit of unity of the whole picture and harmony of a higher level (Rohlen, 1979). During that time, western classical painting adopted fixed-point perspective, which accorded with the reality of human vision. Photography appeared on that era. Its appearance formed a challenge for the pursuit of classical painting, because taking pictures is more realism than painting. Ukiyoe breaks the rules of classical creation, it brings completely new feelings to the painters those who search for innovation. Ukiyoe assumes rigorous scientific perspective, such as scatter perspective, foreshortening and overlapping perspective. Scatter perspective is a frame which has no fixed focus. The European traditional culture that based on the Greek civilization respects the science and reasonal thinking after the Renaissance. People try to conquer the nature. According to modeling principle of Golden Section Rate, people try to reach a balance both in plane painting and architectural design (Bartl, et al, 2017). Thus, vertical line and horizontal line become the main composing shapes. In a word, the main idea of art is changing every time. A large part of Chinese claborate-style painting is painted from scatter perspective. It combines scenery with characters on the same frame, which has perfect ornamental effect, such as Riverside scene at Qinming Festival. Foreshortening, there is a vivid metaphor this word: to show the attack fist to you in the cartoon, fist was exaggerated, forearm was narrowed. Overlapping scenography is to put foreground object over background objects, using foreground object parts to block background object, then express the sense of space (McKinney & Helen, 2017). Therefore the appearance of Ukiyoe was a great shock for European impressionist paintings at that time. Impressionism describes reality life, such as Paris street culture. On the painting skills, there are no longer smearing shadows overly, couldn’t see the line just like classicists . To the contrary, impressionism emphasis on plane painting, without shadow, keep line, bold colors, which greater assimilates different quintessence from Ukiyoe. Manet has developed mpressionism, painting themes mainly focus on Paris street life on that era. The Luncheon On the Grass, draws naked woman and gentleman together, which is a challenge to traditional themes. From composition to space expression both have innovation on painting style , also do not pursuit three-dimensional painting skill, flat on large area, contrasted color, do not pursuit of shadow overly, all of these have the shadow of Ukiyoe. Under the guidance of Manet, drawing began to turn to real life, pursuit of nature, a sense of light and shadow. Manet simplify details on drawing, but using more color to enhance drawing speed (Barber, 2017). Complanation and Regularly color style, without overly merge, will make paintings show relation of distance and innervation. Van Gogh is greatly influenced by impressionists of Ukiyoe. He changed his past gloomy panting style, began to use adjacent color to make his paintings more brighter, pointillism also makes people feel smooth, orderly and dimensional. There is no doubt that Van Gogh was one of the most brilliant and successful artists in the entire world captivating thousands of hundreds of scholars and modern artists to appreciate his excellent works. What is to be praised in particular is the unique line patterning of Ukiyo-e block prints-engraved by sharp knife on cherry board and then printed on Japanese (similar to Chinese rice ) by heavy ink, the bright ink lines are of abstract artistic charm.Though its basic strokes grew out of the ink outline of Chinese painting, it differs from the concepts advocated by Chinese painting: such as rising and falling in cadence or heavy and light ink in style (kuo, 2017). When hand-painted lines are moved to engraving plate, they have obtained some abstract element because a change in nature. Lines in Ukiyo-e prints are essentially different from those in western traditional paintings: Lines in western traditional concept exists as contour outlines of objects, especially when Da Vinci adopted ‘The Fade Method’ to avoid crudity of outlines. Lines then are diminished in importance in western painting, and finally become abstract entities that are more independent and non-colorful. Flat paint color is another feature of Ukiyo-e prints (Levine & Green, 1980). Oriental line sketch and simple colors become Van Gogh’s main techniques to express nature in his later works. The Ukiyo-e block prints reflect vividly the creative pursuit for form and color by Japanese art, it gives full play to the abstract expression of lines and color, it reaches a pure realm in visual expression, it exerts a huge influence on impressionistic painting and even on western modern art with its unique style and feature that Chinese art, as mother of oriental art, cannot match either. Edgar Degas was a special impressionistic painter. His most important subject matter, one is ballet dancer, the other is bathing girl. He portrayed character’s appearance as well as his inner soul. In public eyes, the Ukiyo-e prints is largely influential when he in his early period depicted composition of large scenes like ballet dancer show and rehearsal (Kobayashi, 1992). He employed central displacement and spatial cutting in his artistic works, which enabled to contain more details and made his scenes feel more realistic. He also adopted in his composition the art of photography of that time. The painting “Cotton Trade, Scenes in the Office” finds its every character very carefully portrayed, there in no one camera which could shoot the spatial sense, balance and symmetry under his pen. The exaggerated foreground of the close-up shot, the drifting away background, a suddenly cut-off body, an view angle from high above, to emphasize depth with blank space, etc, through all these techniques it feels like someone is peeping outside. Degas’ bold attempt in spatial composition is highly innovative. Japan pays attention to abstract perceptual expression, which is a basic character through Japan fine arts, it combining the abstract decoration, forming a good operating skill on the flat surface. Although Japan’s fine arts are somehow lack of thickness of the West and depth of China. What is more, it is also not good at expression, but the Japanese arts “reality image”, were very consistent with its national character. As ink painting of the song dynasty by Japan painter, what in place of quality sense is the outline performance on the paintings. Looking from the essence, we can see that Japanese paintings can also be called art of line to some degrees, which is compatible with painting flat, and it could have common with western aesthetics, also it could produce resonance with the western aesthetic ideal more easily. As a result, Japanese paintings have the form of structure factors and more lines decorative features, so that in some extent or could say in some sense, it can produce more resonance with the western aesthetic ideal. Compared with the Japan painting which emphasizes on its spirit, the Chinese painting emphasizes on subjective visual perception, and it attaches great importance to the abstractness and decorative Japan fine arts clearly have more in common with the ideal of the Western art value whose feature and skill is also much easier to be understood and accepted by the artists or people in a wide range of Western countries. The emergence of Japan fine art accelerates transformation of Western painting from the classical form to the modern form, eventually led to the form factor of abstract replace simulation of the real facts. As it develops, things have proven that abstract art reflects the Oriental character from the East, clearly representing that the meaning of Japan fine arts for the west is pointing to the whole of the 20th century (Sullivan, 1989). From this point, we are able to see that the Japanese art influenced the whole 20th century to some extent, meaning to say, the painting styles of, more or less, all painters at that period of time were influenced by Japanese artists. In conclusion, the reason why impressionism is on the list of history of painting is because the effect of light and shadow are emphasized by impressionists, their reflection of light and shadow is the core point. They are fond of painting in the outside, they love to choose landscape as painting theme, they pay attention to light, shadow and color, and they paint realistically. At that time, Delacroix, Courbet, Corot and the Barbizon School had influenced the impressionistic painters a great deal, and when the Ukiyo-e came in, they got to realize they could compose paintings with no use of scientific perspective, they could employ non-mixed bright colors and flat paint colors, as well as quick sketches using lines and color lumps.The impressionistic painters gain enlightenment from the Ukiyo-e prints and further get it employed in their works, that is why we are able to see Ukiyo-e in many paintings of impressionism. References: Barber, B. (2017). The fundamentals of drawing. Arcturus Publishing. Bartl, M., Li, P., & Schuster, S. (2017). Modelling the optimal timing in metabolic pathway activation—Use of Pontryagin's Maximum Principle and role of the Golden section. Biosystems, 101(1), 67-77. Carey, J. (2017). What good are the arts?. Oxford University Press. Haron, Hamdzun, and Narimah Abd Mutalib(2017). "Technology and Production Process of Malay Traditional Heritage Pottery in Malaysia." Jurnal Teknologi64.1 . Kuo, J. C. (2017). Transforming Traditions in Modern Chinese Painting: Huang Pin-hung's Late Work (Vol. 35). Peter Lang. Levine, E. S., & Green, W. (1980). The Cosmetic Mystique of Old Japan.Impressions. McKinney, J., & Helen, I. B. A. L. L. (2017). Researching scenography.Research Methods in Theatre and Performance, 111-36. Rohlen, T. P. (1979). For harmony and strength: Japanese white-collar organization in anthropological perspective (No. 9). Univ of California Press. Sullivan, M. (1989). The meeting of Eastern and Western art. Univ of California Press. Wicks, R. (2017). The idealization of contingency in traditional Japanese aesthetics. The Journal of Aesthetic Education, 39(3), 88-101.
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