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 The Japanese painting is one of the most unique and exclusive
phenomenon in the world culture which stipulates the concern in it from art
historian and simply amateurs of beautiful things from all over the world.
Actually, the development of the painting on the Japanese islands isolated and
thus not exposed to the foreign cultural influence appeared to be of
exceptional nature. The painting of Japan reflected the special vision of
natives of this country to the world showing the specific philosophy to the
Japanese. And here the exclusivity of the painting content in Japan matched
with the variety of types of art works. Apart from screens and wall paintings so
customary for the perception of the Europeans, the works of art include silky
and paper rolls decorated with prints, special album sheers and flamboyant
fans.
Unlike the medieval Europe where the church art completely dominated
up to the epoch of the Renaissance, the history of Japanese painting describes
several stages of development each of them is characterized with special
features and signs. The first stage to distinguish against the graphic works we
are familiar with today is the period of Nara period (middle of VII - end of VIII
centuries) which includes the painting of the Horudzi temple which easily shows
influence of Chinese and some Indian painting traditions. The next stage is
called Heyan (beginning of XVII - end of XII centuries). This is the long stage
which is marked with the longest improvement of the temple painting art and
first samples of social art as the illustrations to novels and stories for the
entertainment of the nobles.
The stage of Kamakura (the end of XII - first half of XIV centuries)
is marked with the change of style and spirit of the Japanese painting. When
the entire atmosphere of paintings and pictures was optimistic, joyful and
delicate, then the step was made to the aspect of real images to add some
ascetic, practical and almost military nature. The basic plots for the
paintings were the scenes of battles from the mythological legends and
historical chronicles, religious scenes from Shintoistic tales and Buddhist traditions.
Portrays of military, governmental and religious persons was highly popular.
The period of Muromati (the first half of XIV - the second half
of XVI centuries) symbolized the tendency in the Japanese painting which is
mostly familiar to the solid mass of foreigners. Under the influence of philosophy
of the Zen Buddhism followers the great popularity won the landscape painting
while the most delicate was the monochromic technique. It told the particular affect of the Chinese landscape
painting and thus, the most famous Japanese artist of that epoch, Toe Oda Ода
aka Sassu, first painted the landscapes while traveling throughout China and he
developed this tendency when he arrived back to his motherland.
Throughout the consequent periods of development of cultural
Japanese painting, Monoyama (the second half of XVI - beginning of XVII centuries)
and Edo (beginning of XVII - middle of XIX centuries), this tendency went on
actively developed and enriched in aspects. The monochromic painting became
more delicate and elegant and the great attention was paid to the through
elaboration of details and the artists experimented and used the approaches and
techniques used for rolls and screens to wall paintings and vise versa. And here
the scenes and plots were not limited in landscapes and mass scenes and
psychological scenes became more popular and demanded where one or several
characters are depicted when showing emotions of human being. Apart from traditional
painting since the middle of the XVIII century in Japan the wood engraving was
developed of two basic types as the theater engraving with works of the famous
master Tesusay Syaraku and engraving works for household with founders as
Sudzuki Harunobu and Kitagava Utamaro.
When talking about the Japanese painting as about the modern
items to collect, it concerns the tough situation. The Japanese painting is not
demanded by the foreign collectors in the sphere of Japanese painting amateurs.
It is difficult to explain it and most obvious that the matter is unusual
appearance of Japanese images and lack of promotion of the Japanese works of
art among the wealthy collectors of art from other countries. The Japanese netsuke
is the accessory to win the highest popularity throughout the world as tiny items
from metal, wood, bone or china as funny figurines of animals, bugs or people.
The most enormous foreign collection of netsuke is located in the British
Museum.
And therefore the Japanese painting is mostly demanded in
the country among the collectors for private and collective purposes. And it is
noted that the real fashion to purchase the works of art in the business
society in Japan proceeded after the World War II period. And it is easy to explain.
First, it is the psychological factor when after the defeat from the American and
Soviet Armies, after the nuclear attack of Hiroshima and Nagasaki, after the shameful
conditions of capitulation and location of US military base the Japanese elite
need the triggering to restore the ideas of national greatness and the
nourishment in patriotism rebirth. And in this view collecting and promoting of
Japanese painting masterpieces was very appropriate. The second reason is too prosaic
when following the European and American businessmen the Japanese businessmen
realized that works of art appear the reliable long-term investments. And thus,
they rushed to purchase the domestic paintings. Though, the Japanese collectors
were keener on western paintings as items to win the best fame and, thus, the highest
price. So, the Japanese painting is still demanded in governmental and public
circles and societies and among the art historians rather than among wealthy
collectors.
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