Modern Japanese Painting Essay, Research Paper

Among my peers, art is often overlooked and is seldomly

appreciated. Perhaps, with the subsequent information your interest will

grow as mine did. During the end of the nineteenth century, also during

the time of modern development in painting techniques, Japan entered the

international world. Their culture made slight changes due to opposing

virtues and renovating ideals pertaining to painting. Europe possessed

many of the modernistic, innovative principles and inspired the Japanese

tremendously. With the overwhelming influence of the European painting

techniques, the Japanese style remained almost unaltered, yet accompanied

with modernized standards.

The European style migrated to Japan and imposed on the

traditional and ancient methods. As a result, the patrons of the ancient

style denied the effectual, European ways of artistic expression. Thus,

the Japanese culture divided into two worlds: Traditional and Modern

Western.

The European form was not completely contradictory to the

Japanese. However, the color hues, organization of motifs, and personal

expression used showed great contrast. These elements were absent in

Japanese paintings. The Japanese were considered archaic and anile

according to the Europeans (Baker 199). Their artistic expression and

reasons for the subject matter usage were constantly changing and

refitting the most recent alterations in society (Gregg 757). They strive

to find new ways of “representing the intrinsic beauty of nature as a

higher synthesis of modern realism and characterism” (Microsoft).

Symbolism and realism, “classical restraint and romantic passion” were

elements attempting to apply itself to the primitive style and were used

to reveal significant affinities (Microsoft).

Japanese painting, concerning artistic expression, was the

preferred art form and was used to deal with mental tensions and inner

thoughts. They were taught the “various rules of objective realism such

as linear and aerial perspective, and shading” (”Japan” 959). Their

themes encompassed life, mother nature (like the Europeans, but pass?),

movement and character. The inevitable outcome was displayed by the

traditional Japanese by objecting and attempting to overcome the conflict

between the dual civilizations (”Japan” 958).

The concurrent practices took place in a time of complex life

situations, and agonies became too acute to be dealt with a traditional

art form (Baker 201). In fact, the Western style actually allowed the

Japanese to escape the restricted attributes such painting with definition

and without perspective or visible space. It gave them more opportunities

to show elaborate, uncapped emotion without the risk of condemnation by

ancestral painters (Baker 193). In other words, the new method was their

scapegoat or moat away from the mainland, as if it was an excuse to

experiment with untrained, inexperienced and undesired means. Even today,

Japanese-style painters take advantage of this recent development. It

influences erecting, young artists and significantly increases their

efforts to find “adequate visual forms for expressing their complicated

inward life” (”Japan” 958). Many researchers believe and are convinced

that Japan needs to study Westernism [painting] to survive in the painting

world (Gregg 751). The division of the two co-existing cultures have “made

substantial contributions to modern concepts of Japanese painting” (Baker

200). On the other hand, despite the clash, traditional ways have endured

and abide by the same code used centuries ago.

Baker, Joan-Stanley. Japanese Art. New York: Thames and Hudson, 1984.

Gregg, N. Taylor. “Hagi: Where Japan^?s Revolution Began.” National Geographic

6 June. 1984: 751-

772.

“Japan.” Encyclopedia Brittanica. 1967 ed.

Microsoft Encarta 96 Encyclopedia. Computer software. 1996. CD-ROM.

Outline

I: Thesis

A: European influence

B: Traditional Japanese Painting

C: Conflict and Collaboration

II: European Style

A: Style

B: Expression

C: Immigration of Culture

III: Traditional Style

A: Style

B: Expression

C: Acceptance of Foreign Ways

IV: Conflict and Collaboration

A: Styles Conflicting

B: Changed Expression

C: The Arts Today

V: Conclusion

A: Restating of Thesis

B: Closing Points