Arts Term Papers and Research
Papers: Arts of India and Japan
From attach-figures in the sand and the first animals painted and carved in
stone, people wide-reaching have reacted to the world by making images. The
basic objective of art, especially in the past, was to express meaning and
express significant ideas, revealing what was important to every society, by
arresting images. On the other hand, India and Japan are among those countries
where has a religious value. Both of these countries have wide art chronology
and to some extent quite comparable to each other due different reasons. By the
end of the 7th century, Buddhism had extended its influence in Japan, and
Southeast Asia. It was, though, supplanted in India by a revitalization of
Hinduism, which now remains the leading religion.
Goddess Durga took form in very old Hindu religion. Other forms of Durga have
been found in area, cultures and with proof of similar divinities in
Japanese-Buddhist art forms. Gaganendranath is considered as one of the "leading
exponents of a superbly original stage in Indian art". Early in his life
Gaganendranath came under the power of the Japanese artist Yokoyama Taikan. He
also acquired skill in European watercolor and was possibly the first Indian
artist to test with French style of painting.
“Diverse factors have contributed to the expansion of Japanese art. Both
technically and aesthetically, it has for many centuries been controlled by
Indian and Chinese styles and artistic developments, some of which came via
Korea. More in recent times, Western techniques and artistic values have also
added their force”. [Dickens, Roy S, 1982, pg 56]
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“The art of the Indian is among the immense customs of the world. Japan, which
has its personal notable clay creativity, believes that their art is quite
comparable to Indian culture”. [Holm, Bill and Bill Reid, 1976, c. 1975, pg 48]
Indian art is of great meaning and represents a strange contribution to the
sculpture of the world. Japanese ceramists and Indian potters have many
comparisons that pervade the living and working philosophy of both cultures.
Among them are an admiration for and a close relationship with custom, strong
personal value systems, and respect for art as part of every day life.
The art of painting in India and Japan considered as the foundation of every
creative experience since early human history as portrayed by the many paintings
found in caves and holy places all over the world. Since pre-historic time,
painting has always fascinated the human being. Some associated to magic while
others related to attractive themes. With the expansion of life, the art of
painting started to develop in order to manage with its purpose and the close
environment and the society affected it.
The Indian artists started to get familiar with the new styles around them. If
we look carefully we find that Bombay’s artists for example had their
significant experiences since the end of the 19th century. They created
well-known works characterized by their constituents that varied between fine
balanced lines and the strong styles that renowned the royal customs of art or
the London school of painting.
Whilst in the Eastern part of India, the Japanese styles were controlling Indian
painting, many of these paintings whether Indian or other were very alike to
what we know today as oil paintings, At least from the visual attitude, despite
the fact that, there were some differences in the content. The Indian art of
painting is related in its total to the art of structural design or figuring and
individual forms. This is shown in the paintings found in Ajanta caves for
instance; these works are dissimilar from the similar ones that used the
Japanese letters. Ajanta artists were renowned by using the red lettering and
white lines. Besides they created the free practice of colors. The work of these
artists was typified by glorifying viewpoint, which gave them the renowned place
in the history of art.
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The Hakuho or so-called early Nara artistic period, which chased the Asuka
period, was a time of strong Chinese, Japanese and Indian pressure. The flatness
of form and rigidity of look in the sculpture of the Asuka period were replaced
by elegance and vigor. The Tempyo or so-called late Nara (710-94) artistic
period was the golden age of Buddhism and Buddhist sculpture in Japan. Some of
the big works of this period might be seen in and around Nara today. They mirror
a great pragmatism, combined with a rare calmness.
The Indian artist sets out from level of values of experience that join life and
the spirit. The whole imaginative force comes here from a religious and psychic
vision; the importance of the physical is secondary and always intentionally
lightened so as to give an overpoweringly spiritual and psychic impression. This
painting expresses the spirit through life, but life is only a means of the
spiritual articulateness. A critic of high reputation speaking of the Indian
pressure in a famous Japanese painting fixes on the grand powerfully outlined
figures and the feeling for life and quality recalling the Ajanta frescoes as
the signs of its Indian character. Although we could say that Japanese and
Indians have two individual arts, but still they have few things common in them,
which gives them the shades of each other’s art.
Works Cited
Dickens, Roy S., ed. Of Sky and Earth: Art of the Early Southeastern Indians.
Georgia Department of Archives and History, 1982, pg 56
Holm, Bill and Bill Reid. Indian Art of the Northwest Coast, A Dialogue on
Craftsmanship and Aesthetics. Institute for the Arts, Rice Univ. Distributed by
Univ. of Washington Press, 1976
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