AESTHTICS OF JAPAN & CHINA 1

The Aesthetic Transformations of Art in China & Japan

Abdulla khan

Student Number: 7715027

Course Code: FAAH-1100-Survery Of Asian Art

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The Aesthetic Transformations of Art in China & Japan

Chinese art is a visual art form originated in China by Chinese artists. Significant volume

of Chinese art is influenced by Buddhism. Buddhism originated from India and entered to China

during the 1st century, which shortly became the dominant religion of China. Japanese art and

culture correspondingly plays a profound role in Japanese values and principles. The 9 elements

of Japanese aesthetics, embody the way of living. Japanese art forms and aesthetic ideas

originated through self- isolation. Although Chinese & Japanese have similar set of aesthetics,

they both also consist of diverse values and ideologies articulated through a visual form, such as

painting or sculptures, producing works to be cherished primarily for their beauty or emotional

influence.

River Landscape, c. 1300

Unknown artist, China
Source: [copyright expired] Public Domain
http://collections.artsmia.org/art/3304/river-landscape-china

The first painting demonstrated above is an image of this stunning river landscape located in

China. All hand scroll paintings, is meant to be read from right to left. Accordingly, close

inspection will lead the viewer from a pine-shaded country villa on the right along twisted

footpaths and open bridges to serene mist-shrouded distant mountains on the left. Usually such

hand scrolls were unrolled slowly to be appreciated section by section by a limited audience of
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usually only one or two people. (River landscape) The general aesthetics of this divine

panorama corresponds to song dynasty which was an era of Chinese history in where agriculture

was the driving contributor to the economy.

Fireflies Over the Uji river By Moonlight

Artist: Suzuki Shonen

Medium: Hanging scroll; ink, color, and gold on silk

http://www.metmuseum.org/toah/works-of-art/1979.72/

The second image on your left was formed by a

Japanese Artist Suzuki Shonen. This portrait represents its

melody through the well-known novel The tale of Genji.

The story unfolds as Genji, the son of the emperor who gets

foretold a bright future for by a Korean sage. Chapter 45

tells of a widowed prince who is a devout Buddhist and lives

in the secluded suburbs along the Uji River with his two

young daughters. A central scene in the chapter tells of a

clandestine visit by a youthful male courtier and his attempts

to overhear the music and conversation of the two young

ladies. The courtier secretly listens outside their veranda in

the dark night. He is hindered, however, by the loud noise of

the rushing Uji and by the night's rain and heavy mist.

(Fireflies Over the Uji river) This detailed painting

resembles and allows the perceptiveness to visualize the dark

night and the heavy atmosphere of the novel that are transported vividly in this painting by the

shadowy sky. The stimulating underlining difference between the two images above are vastly
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diverse. Although they are painted with the same type of contour with the use of dim colors the

symbolic meaning behind the landscapes differentiate significantly.

Funerary Model of a Pavilion, 1st century BCE-1st century CE

Artist: Unknown
Medium: Ceramic
Source: [copyright expired] Public Domain
http://collections.artsmia.org/art/3760/funerary-model-of-a-pavilion-china

This detailed ceramic shown on the left are models

of common structures that were often place in noble tombs

during the Han dynasty era. Enhanced approaches of buildings

in the Han period led to the creation of numerous tower-like

buildings which were specifically made from ceramic tile,

wood and bricks. This detailed ceramic structure is built by

five removeable units which correspond to produce four levels.

This traditional structure is still used today and has continued

on with the traditional Chinese architecture. The Song

Dynasty period was an important time for ancient Chinese

architecture. Great improvement had been made during that period. The scale of the buildings in

the Song Dynasty is generally smaller than that in the Tang Dynasty(Funerary Model of a

Pavilion) . Captivatingly the Chinese temples and building roofs were repeatedly curved. The

perceptive persona behind the curved roof was due to a belief that would shock the evil spirits,

which could solitarily travel in straight lines. This ideology originated and still is followed

religiously amongst the Buddhists.

The Japanese architecture during the ancient era had a similar resemblance to the Chinese

Structures that were established in China. The introduction of Buddhism in Japan during the
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sixth century was a catalyst for large-scale temple building using complicated techniques in

wood, Influenced from the Chinese Tang (Funerary Model of a Pavilion ) Although the

Chinese and Japanese architectures develop their buildings from wood. The key difference is

that, Japan follows Tang dynasty architecture whereas China is sturdily influenced by Ming

dynasty. Tang dynasty buildings do not illustrate a strong curved roof edges.

Shoin Room
Date: 1989
Culture: Japan
Classifcation: Archtiectre
http://www.metmuseum.org/art/collection/search/640986

The image on the left is known

as the Shoin room in Japan. This Shoin

style room was built in the later stages

of the 1900s. The shion(literally, study)

was originally part of a reading room in a

Zen monastery fitted with shelves and

an alcove near a window. With the

increased appreciation and collection of

Chinese paintings and utensils during the

Muromachi period (1392-1573). (Shorin). Although the Shoin was fundamentally just a room for

study and lectures within the temple which then later was presented as a drawing room or to study. The

shoin was the primary factor of immediate changes that developed quickly in Japanese architecture.

Guests sat on the floor rather than on furniture, they were positioned at a lower vantage point than

their Chinese counterparts at that time, who were accustomed to using furniture. This lower vantage

point generated such developments as suspended ceilings, which functioned to make the room less
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expansive and also resulted in the ceilings rafters to no longer being visible, as they were in China. (

Shoin, Rooms)

The Japanese follow two foremost religions which are Shinto (kami)- old Japanese

indigenous religion of japan. There is no printed scared texts or scriptures and no religious laws.

The Japanese do not believe in hell or heaven. Whereas Buddhism was introduced from the

mainland in the 6th century with more dominant principles and values that are to be shadowed.

In rehearsal, there are seven distinct types of Shinto. Shinto shrines are the places of devotion

and the homes of kami.

Shrine Gates,1850s

This comprehensive image illustrates

the specific gates of the building that is

symbolically an engraved part of the Japanese

architecture. The line of the tori red gates

leads the way to a Shinto shrine, which is a

traditional journey on New Years Day where

individuals offer devotions for well-being and

success. On the picture illustrated above

theres also a plump tree. This pump tree

indicates the forerunners of spring, since they

are one of the first plants to bloom at this

time. During the 1800-1900s the toris were built with wood and have would have

two cross beam that are supported by two posts.

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Unkown artist China

http://collections.artsmia.org/art/12088/ceremonial -gate-
china

The aesthetics of Chinese gates are also

outstandingly bold and unique. The difference between

Japanese and Chinese gates are vastly different. A

paifang which is known as a traditional style of Chinese

architectural gateway structure has a common resemblance

of the Hindu gates. Paifangs come in a number of forms.

One form involves placing wooden pillars onto stone

bases, which are bound together with wooden beams. This

type of paifang is always beautifully decorated, with the

pillars usually painted in red, the beams decorated with intricate designs and Chinese

calligraphy, and the roof covered with colored tiles, complete with mythical beastsjust like a

Chinese palace.( Paifang)

The similarities and differences of the Japanese and Chinese culture is what gives them

their individuality. Although they may have similar architectural designs, with the curved roof

edges and similar religions such as Buddhism that interconnects and unifies them as one, they

both are as uniquely different. Japanese aesthetics carry their own history as well as China with

its own.
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Reference Page

1. Ancient Chinese Architecture, Ancient Chinese Building Styles

http://www.chinahighlights.com/travelguide/architecture/ancient-architecture.htm

2. Japanese architecture
https://en.wikipedia.org/wiki/Japanese_architecture

3. Shoin Room

http://www.metmuseum.org/art/collection/search/640986

4. Shoin Rooms

https://www.boundless.com/art-history/textbooks/boundless-art-history-textbook/japan-after-1333-ce-

30/the-momoyama-period-187/shoin-rooms-682-5437/

5. Paifang

https://en.wikipedia.org/wiki/Paifang
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