japanese art history essay

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The History of Art in Japan

The leading authority on Japanese art history tells the story of how the country has nurtured unique aesthetics, prominent artists, and distinctive movements. Nobuo Tsuji sheds light on works ranging from the Jomon period to contemporary art, from earthenware figurines in 13,000 B.C. to manga and modern subcultures.

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Ishinomori Shōtarō (石ノ森 章太郎) provided the blueprint for the rewriting of history in Japanese graphic art. In Japan the hyperbole of his name ‘forest of stone’ is also synonymous with a plethora of other superlatives. Ishinomori not only wrote the prototype for the first gakushū (学習) manga on economics , defined a new graphic genre in the process and thus paved the way for ‘serious’ manga to enter the educational discourse in Japan, but also holds the Guinness Book World Record for the most pages drawn by a single artist; totaling more than 128,000 pages. As if this was not enough, Ishinomori raised the bar by almost single-handedly penning the first comprehensive history of the Japanese Archipelago in his magnum opus Manga Nihon no Rekishi (マンガ日本の歴史; Manga A History of Japan). This voluminous compendium marks an attempt at historiographical analysis of Japanese history from its ancient ancestral roots right up to the contemporary world. Despite the transcultural renaissance of manga on a global scale the neglect of his work from the discourse of Japanese cultural representation is somewhat surprising. Whereas books on the likes of Tezuka Osamu and the lesser known but still influential Yoshihiro Tatsumi have been highly appraised recently, Ishinomori, - usually labelled as a science fiction manga artist - as one of the founding fathers of the modern manga media is hardly discussed in the Western press. With this contradiction in mind this paper will evaluate the position of Ishinomori’s graphic analects of Japan in comparison to several other archetypes of graphic histories such as Yokoyama Mitsuteru’s Sangokushi (Romance of the Three Kingdoms, 1971-1986), Tezuka Osamu’s Hi no tori (Phoenix, 1978-1995) and Mizuki Shigeru’s Comikku Showa-Shi (Hereafter: Comic History of Shōwa, 1988-1989). The paper will demonstrate how Ishinomori’s representation of Japanese history in manga constitutes a new form of literacy that enables the visualisation of historical artefacts in relation to contentious issues of Japanese identity and memory formation.

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Ukiyo-e – A Glimpse into Japan’s Pictorial History

Ukiyo-e, a genre of Japanese woodblock prints originating in the Edo period (1603 – 1868), captures the essence of the “floating world” with its vibrant depictions of urban culture, theater, beauty, and nature. Literally translating to “pictures of the floating world,” ukiyo-e emerged as a popular art form, reflecting the dynamic and ephemeral aspects of life in bustling Edo (modern-day Tokyo). Artists like Hokusai, Hiroshige, and Utamaro elevated ukiyo-e to an esteemed position, shaping its aesthetic and thematic contours. Through meticulous craftsmanship and innovative techniques, ukiyo-e prints offer a captivating window into the societal transformations, aesthetic sensibilities, and narratives of Japan’s past, making them not only artistic treasures but also invaluable historical and cultural artifacts.

Table of Contents

• 1 Key Takeaways
• 2.1 Origins and Early Development
• 2.2 Golden Age and Artistic Development
• 2.3 Late Edo and Transition to Meiji
• 2.4 Cultural Significance and Influence
• 2.5 Preservation and Global Recognition
• 3.1 The Woodblock Printing Process
• 3.2 Materials and Craftsmanship
• 3.3 Iconography and Themes
• 3.4 Innovation and Stylistic Elements
• 3.5 Conservation and Reproduction
• 4.1 Patronage and Consumer Culture
• 4.2 Ukiyo-e Artists and Publishers
• 4.3 Representation of Social Classes
• 4.4 Historical Narratives and Popular Tales
• 5.1 Key Figures and Their Contributions
• 5.2 Notable Works and Series
• 6.1 After Ukiyo-e Prints
• 7.1 How Is Ukiyo-e Correctly Pronounced?
• 7.2 In What Ways Did the Ukiyo-e Style Influence Modern Art?
• 7.3 What Historical Period Did Ukiyo-e Art Flourish?

Key Takeaways

• Ukiyo-e represents a crucial era of Japanese art from the 17th to the 19th centuries.
• The art form encapsulates the transient lifestyle and culture of Edo-period Japan.
• Ukiyo-e involved an evolution from simple prints to complex polychromatic art, featuring profound social and historical influences.

Historical Context and Evolution

Ukiyo-e is a distinctive form of Japanese art that became especially popular from the 17th to the 19th centuries, shaping the aesthetics of Japan’s Edo period. This genre is characterized by woodblock prints and paintings that feature a wide variety of themes. Common subjects include female beauties, kabuki actors, sumo wrestlers, historical scenes, folk tales, landscapes, and more, providing a vivid portrayal of the period’s culture and indulgences.

Artists during this time developed their own styles and techniques, which led to the evolution of ukiyo-e from simple monochromatic designs to sophisticated prints with multiple colors. The term ‘ukiyo-e’ itself translates to ‘pictures of the floating world’ and reflects the transitory nature of the hedonistic lifestyle depicted in the art. As these pieces captured moments of fleeting beauty and enjoyment, they were well sought after by the middle classes.

They served as a reflection of their aspirations and interests.

Origins and Early Development

Ukiyo-e emerged in the Edo period (1603 – 1868), influenced by the realistic narratives of earlier Heian period emaki and decorative styles of the Momoyama period. Early works centered around ukiyo, which referred to the transient nature of life, encapsulating everyday life, pleasure quarters, and the beauty of nature.

Golden Age and Artistic Development

The Golden Age of ukiyo-e is marked by the Kanbun era to the late 18th century, with artists like Harunobu and Utamaro refining the art form. Complex color prints, known as nishiki-e, were developed.

These were known for depicting vibrant scenes of kabuki actors, samurai, geisha, and everyday Edo (present-day Tokyo) life.

Late Edo and Transition to Meiji

In the late Edo period, masters like Hokusai and Hiroshige expanded ukiyo-e to include landscapes and nature. The art form experienced changes as the Tokugawa regime fell, leading to the Meiji period, where ukiyo-e inspired Western impressionists and began the transition to modern Japanese woodblock prints.

Cultural Significance and Influence

Ukiyo-e captured aspects of Buddhist philosophy and flourished under the shōgun’s patronage. The artwork portrayed the transient world, from the Yoshiwara pleasure quarters to Buddhist texts.

They influenced various cultural expressions, including literature and theater.

Preservation and Global Recognition

Important ukiyo-e collections are preserved in institutions such as the Library of Congress and the Metropolitan Museum of Art. The Heilbrunn Timeline of Art History and Edo: Art in Japan, 1615 – 1868 offer insights into the vast historical reach and recognition of ukiyo-e across the world.

Artistic Techniques and Production

The production of ukiyo-e woodblock prints is a complex process involving skilled artists, carvers, and printers. It requires precision and collaboration, and has evolved to include various innovations and stylistic elements.

These greatly influencing the aesthetics of Japanese art.

The Woodblock Printing Process

The traditional method of creating ukiyo-e prints begins with the artist making a detailed design on paper. This sketch is pasted onto a block of cherry wood, often the wood of choice for its fine grain and durability. A carver then meticulously chisels the design into the wood to create the carved block. For polychrome prints, known as nishiki-e, multiple blocks are carved for each color. Key steps in the woodblock printing process included:

• Design: An artist creates the initial artwork.
• Carving: Carvers transfer the design onto woodblock.
• Inking: Each block is inked with specific pigments.
• Printing: Paper is pressed onto the inked blocks, often by hand.
• Registration: Careful alignment, or registration, is crucial for multi-block color prints.

Materials and Craftsmanship

Printmakers traditionally used natural materials such as sumi ink, various pigments for color, and washi paper or silk. The pigments provide a wide range of vivid colors, key to the visual allure of ukiyo-e. Ink and color quality, along with the skill of the printer, greatly affect the final artistic work.

The materials used included:

• Paper: Washi paper derived from mulberry bark.
• Ink: Sumi ink for outlines and details.
• Pigments: Natural and synthetic pigments for coloration.
• Wood: Blocks often made from cherry wood.

Iconography and Themes

Ukiyo-e prints commonly depict the world of the ukiyo, or “floating world”, symbolizing the ephemeral nature of life. Imagery includes kabuki actors, courtesans, and vibrant scenes of urban life, as well as tranquil landscapes, historical narratives, and folk tales. Themes cover a spectrum from everyday activities to the pleasurable pursuits in the entertainment districts of Edo (modern-day Tokyo). Common ukiyo-e themes were:

• Portraiture: Actors, courtesans, and notable individuals.
• Scenery: Landscapes and famous places in Japan.
• Nature: Depictions of flora and fauna.
• Narratives: Scenes from literature, mythology, and everyday life.

Innovation and Stylistic Elements

Artists such as Hishikawa Moronobu, Okumura Masanobu, and Sharaku contributed to the development of stylistic elements and techniques. Innovations included the introduction of perspective, enhanced color schemes, and the use of mica and other substances to add texture and shimmer to prints. The aesthetic impact of ukiyo-e is seen in its balance of form, use of line, and juxtaposition of colors.

Stylistic innovations included:

• Perspective: Western and Eastern perspectives were explored.
• Color use: Advances in pigment technology led to richer, more varied color palettes.
• Embellishments: Use of embossing, metal inlays, and other techniques for visual effect.

Conservation and Reproduction

Conservation of ukiyo-e prints requires attention to the condition of the paper and pigments affected by light, moisture, and temperature. Reproductions of historical ukiyo-e are created using the same or similar techniques, often serving as important tools for study and preservation of the art form. Modern techniques can also involve digital imaging and printing methods. Conservation practices included:

• Environment: Controlled temperature and humidity for storage.
• Restoration: Careful cleaning and repair by conservators specialized in paper and pigments.
• Reproductions: Handmade or digital, they enable broader appreciation and analysis.

Socioeconomic Aspects and Market

Ukiyo-e, reflective of Edo period Japan, thrived on a robust market driven by merchants and a burgeoning consumer culture. This mass-produced art form was deeply intertwined with the socioeconomic fabric.

The artworks catered to a society fascinated by the floating world’s fleeting pleasures.

Patronage and Consumer Culture

During the Edo period, chōnin was the term for the wealthy merchant class whose patronage largely supported ukiyo-e artists. These merchants engaged in conspicuous consumption as a way to showcase their wealth and social standing, as their status was not in line with the conservative values imposed by the samurai-led government. The pleasure districts and theaters of Edo (now Tokyo) fueled the demand for woodblock prints, depicting scenes of kabuki actors, courtesans, and city life.

Ukiyo-e Artists and Publishers

Ukiyo-e artists often worked in close collaboration with publishers who were the financial and organizational backbone of the printmaking process. Renowned artists like Hokusai and Hiroshige gained fame through their prints, capturing landscapes and urban scenes popular among the masses.

Publishers facilitated the production and distribution, managing the intricate carvings on cherry wood blocks for mass replication of prints.

Representation of Social Classes

The art of ukiyo-e offered a visual manifestation of the Edo period’s social hierarchy. Artisans, prostitutes, and merchants were frequently portrayed, offering a contrast to the lives of the samurai and farmers. Prostitutes from brothels and depictions of the licensed quarters represented a slice of the floating world that was otherwise socially sanctioned but visually celebrated.

Historical Narratives and Popular Tales

Ukiyo-e prints often told stories of historical events, folklore, and provided a medium for circulating popular tales. Heroes from Japanese legends, monsters, and demons, alongside scenes of romantic vistas and landscapes were common subjects.

These narratives resonated with the print-buying public, who were eager to engage with tales that captured the imagination and reflected societal values and interests.

Influential Ukiyo-e Works and Artists

Ukiyo-e, a traditional Japanese art form, has seen numerous artists who have significantly influenced both the genre and art beyond Japan’s shores. This section examines key artists, their renowned works, and ukiyo-e’s transition to contemporary media.

Key Figures and Their Contributions

• Katsushika Hokusai: Often deemed a master of ukiyo-e, Hokusai is best known for his woodblock print series Thirty-Six Views of Mount Fuji (c. 1830 – 1832), which includes the iconic The Great Wave off Kanagawa (1831). Hokusai’s influence extends to his impact on the European Impressionist movement.
• Utagawa Hiroshige: Credited with pushing the boundaries of ukiyo-e landscape art, Hiroshige’s The Fifty-three Stations of the Tōkaidō   (1833 – 1834) series is celebrated for its unique perspective and masterful use of color.
• Toshusai Sharaku: Known for his kabuki actor prints, Sharaku brought forth the dramatic expressions and poses of Japan’s traditional theatre through his works.

Notable Works and Series

• The Great Wave off Kanagawa  (1831) by Hokusai: This print, which captures the force of nature juxtaposed against Mount Fuji, is emblematic of the power and beauty central to ukiyo-e art.
• Fifty-three Stations of the Tōkaidō  (1833 – 1834) by Hiroshige: It illustrates the scenic views along the Tōkaidō road, from Edo to Kyoto, and is revered for its landscape portrayal in Japanese printmaking.

Legacy of Ukiyo-e

Ukiyo-e’s impact extends beyond its origins in Japan, influencing art and culture globally. It has shaped genres and aesthetics far removed from its Edo period roots. There are many ways that ukiyo-e influences modern culture.

These include:

• Manga: The art form of manga can trace its roots back to ukiyo-e, with Hokusai even using the term for his sketchbooks, which later influenced the manga style.
• Modern interpretations: Artists like Hasui Kawase played a role in the 20th-century revival with landscapes that melded traditional subjects with modern sensibility, bridging historical and contemporary art .

After Ukiyo-e Prints

Ukiyo-e, or “pictures of the floating world,” represents a significant artistic movement originating during Japan’s Edo period. Characterized by its woodblock prints, ukiyo-e art depicted everyday life, landscapes, and the beauty of nature. The style of ukiyo-e has notably inspired many Western artists in the 19th century, including the Impressionists and Post-Impressionists. The use of flat planes of color and emphasis on silhouettes in ukiyo-e prints can be seen echoed in the works of Vincent van Gogh and Claude Monet.

Ukiyo-e’s graphic and narrative qualities continue to resonate within various forms of contemporary Japanese visual culture, such as manga and anime. These mediums employ techniques akin to those found in ukiyo-e, like distinct line work and dramatic composition.

Today, traditional ukiyo-e woodblock printing techniques are preserved by artisans in Japan. There is a dedicated effort to maintain the historical methods, materials, and aesthetic values, ensuring that the legacy of ukiyo-e remains intact and accessible.

Globally, museums and private collectors cherish ukiyo-e pieces for their historical and aesthetic significance, displaying works that provide insight into Japanese life during the Edo era, as well as demonstrating the art form’s evolution. By understanding its continued relevance and adaptation, the legacy of ukiyo-e Japanese prints is emblematic of the enduring power of art to influence beyond its original context and era.

Ukiyo-e stands as a testament to the rich artistic heritage of Japan, embodying the spirit of its people and the dynamic cultural milieu of the Edo period. Its enduring popularity and influence extend far beyond its historical context, resonating with audiences worldwide and inspiring countless artists across generations. Through its intricate designs, vibrant colors, and evocative themes, ukiyo-e continues to captivate and enthrall, inviting viewers to explore the multifaceted layers of Japanese history, society, and aesthetics. As a cherished art form, ukiyo-e remains a cherished cultural treasure, preserving the essence of the “floating world” for generations to come.

Frequently Asked Questions

How is ukiyo-e correctly pronounced.

Ukiyo-e is pronounced as oo-kee-yo-eh . The term comprises four syllables, and care should be taken to pronounce each one distinctly.

In What Ways Did the Ukiyo-e Style Influence Modern Art?

The ukiyo-e style significantly influenced Western artists, particularly the Impressionists, with its bold lines, unique perspective, and flat areas of color. These elements inspired artists such as Vincent van Gogh and Claude Monet in their use of color and composition.

What Historical Period Did Ukiyo-e Art Flourish?

Ukiyo-e art flourished during Japan’s Edo period, which spanned from 1603 to 1868. This period saw the rise of a wealthy merchant class with the means and leisure time to support the arts, including the distinctive woodblock prints of ukiyo-e.

Isabella studied at the University of Cape Town in South Africa and graduated with a Bachelor of Arts majoring in English Literature & Language and Psychology. Throughout her undergraduate years, she took Art History as an additional subject and absolutely loved it. Building on from her art history knowledge that began in high school, art has always been a particular area of fascination for her. From learning about artworks previously unknown to her, or sharpening her existing understanding of specific works, the ability to continue learning within this interesting sphere excites her greatly.

Her focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20 th century, as well as the important impact that female artists have had on the development of art history.

Learn more about Isabella Meyer and the Art in Context Team .

Cite this Article

Isabella, Meyer, “Ukiyo-e – A Glimpse into Japan’s Pictorial History.” Art in Context. March 11, 2024. URL: https://artincontext.org/ukiyo-e/

Meyer, I. (2024, 11 March). Ukiyo-e – A Glimpse into Japan’s Pictorial History. Art in Context. https://artincontext.org/ukiyo-e/

Meyer, Isabella. “Ukiyo-e – A Glimpse into Japan’s Pictorial History.” Art in Context , March 11, 2024. https://artincontext.org/ukiyo-e/ .

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Kamakura period

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From the middle of the 12th century the reality of true imperial court control over Japan was largely a fiction. The Taira (Heike ), a provincial warrior family, assumed the role of imperial protector and became the effectual power wielder. From that time they entered into a protracted struggle for hegemony with the Minamoto (Genji ), a powerful clan from eastern Japan. The Gempei War between the families raged through much of Japan’s central island from 1180 to 1185, during which such major temples as Tōdai and Kōfuku and their contents were completely destroyed. The Minamoto eventually emerged victorious, and, under the leadership of Minamoto Yoritomo , the culture and structure of national leadership shifted from the civil aristocracy to the hands of a provincial warrior class . In 1192 Yoritomo was named seii taishōgun (“barbarian-quelling generalissimo”) by the court, thus initiating an office of military dictator that would persist until the Meiji Restoration in 1868. Yoritomo located his power centre (later termed shogunate , or bakufu , literally “tent government”) in Kamakura , a small seaside village on a peninsula to the south of present-day Tokyo . Control of the shogunate soon passed to the Hōjō family through Yoritomo’s widow, but the government did not return to Kyōto until 1333. The years from 1185 to 1333 are thus known as the Kamakura period.

The military victory and subsequent structural changes not only established the new ruling group in a position of military and economic power but also allowed for the infusion and development of a new cultural ethos—one that paralleled but was determinedly distinct from that developed by the court in Nara and in Kyōto. Warrior values of strength, discipline , austerity, and immediacy found resonance in the practices of Zen Buddhism . This strain of Buddhism had long played a subsidiary role in Japan, but, from the 13th century, strong Japanese adherents were bolstered in number and authoritative leadership by immigrant Chinese monks who had been displaced by the Mongol conquests in China . Zen Buddhism offered the new military leadership a nonthreatening alternative to the Tendai-controlled religious establishment that dominated the Kyōto court. The iconographic needs and the inherent aesthetic predispositions of Zen Buddhism were refined through this initial relationship with the Kamakura elite and over the next several centuries became widely influential throughout Japan.

Populist religious movements, particularly those generated by Amidist beliefs during the Heian period , grew even stronger and more diverse during the Kamakura period, increasing demands for Buddhist iconography . During the 13th century fears of an invasion by the Mongols from the mainland were realized on two occasions (1274 and 1281). Both times the invaders were repulsed, but these episodes and their anticipation contributed to a pervasive anxiety that was more than occasionally exhibited in the mood and theme of religious iconography. It was a time punctuated by prayers of supplication and pleas for divine intervention. Although quite different in their fundamental precepts, the simple and direct means of access to salvation or enlightenment offered by Zen or Amidist practices were exceedingly popular.

Perhaps no single feature of the Kamakura period so exemplifies the unique character of the age as does the emergence of bold new sculptural styles. Indeed, the Kamakura is considered by many to be the last significant period in the history of Japanese sculpture until modern times. Although sculpture continued to be produced in later periods, it consisted largely of uninspired reworkings of old themes and old styles.

As a result of the widespread destruction wrought by the Gempei War, it was necessary to replace the extensive loss of religious sculpture. The most compelling works of the period were created in the 13th century, notably by the Kei family, led by Kōkei and his son Unkei . Inspired both by the exquisite idealism of the Nara period works and by the fashion for realism found in Chinese Song dynasty sculpture, the best of Kamakura period sculpture conveyed intense corporeal presence. The style is frequently referred to as “Kamakura realism” but should not be confused with the notion of “realistic” in the sense of faithful rendering of the natural. While, for example, there is reference to careful anatomic understanding, this understanding is often rendered in extreme statement. The huge guardian figures created by Unkei and other Kei artists to flank the Nandai-mon (“Great South Gate”) at Tōdai Temple are the epitome of this style. With bulging eyes, limbs lined with tributaries of protruding veins, and theatrical poses, these and similar works were direct and accessible to the mass of the Buddhist faithful.

In portraying a range of divine concerns from protection to sympathetic consolation, Kamakura sculpture responded to the spiritual climate of the age. The sculpture by Unkei’s son Kōshō (died 1237) of Kūya, the rugged old mendicant who advocated the unceasing repetition of the nembutsu prayer, is depicted realistically as determined and gnarly but with the fantastic grace note of a string of small Amida figures emerging from his mouth—a literal representation of his teaching. An exquisitely refined evocation of the protective and welcoming presence of the Amida is seen in the sculpture dated to 1269 and a product of the atelier of Kōshun. With its surface completely adorned with gold-leaf pattern cuttings ( kirikane ), this figure proclaims celestial splendour. The intensity of the deity’s gaze, omniscient and direct, is accomplished by a Kamakura period innovation: inlaid crystal eyes backed by white paper appropriately coloured to effect iris and pupil. For Kōfuku Temple, Unkei sustained the remarkable standards of the temple’s renowned Nara period hollow-lacquer sculpture with his production of figures such as the famous disciples of the Buddha , Muchaku (Asanga) and Seshin (Vasubandhu). The portrait sculpture of Muchaku conveys firm resolve, seasoned realism, and, thanks to subtle handling of fleshiness around the eyes, a hint of humour.

The finest Kamakura period sculpture is a seamless union of meticulously crafted and assembled parts. While wood was the medium of choice, the dominant presence of a single tree, a feature characteristic of early Heian sculpture, is no longer present. The joined-block method was used with much greater frequency than in previous periods. Effects were achieved through the coordination of skills, and specialization within workshops was common. In some cases the face of a sculpture was worked separately, as if a mask, and then affixed to the sculpture. The refinement of this ability to work on individual parts allowed for remarkable detail and expressive effects, enhancing the meticulous realism characteristic of Kamakura sculpture.

Painting of the Kamakura period, both religious and secular , was marked by a sense of immediacy and vitality. The Amidist sects spawned cults that emphasized devotion to particular intercessory figures who had initially been considered ancillary in the overall Pure Land Buddhist pantheon. For example, the Jizō Bosatsu, the bodhisattva depicted in the guise of a gentle, young monk, was venerated as a protector of women and children and as one dispatched on a special mission of compassion to suffering sentient beings enmeshed in the tribulations of their various life states. The popularity of Amidism also encouraged the creation of elaborately conceived spiritual cosmologies in paintings depicting the six realms of existence. In a variation of that theme, paintings of the Nika Byakudō (“White Path to the Western Paradise Across Two Rivers”) type show both the difficulties encountered by the believer journeying to the Western Paradise and, at the centre, the Jizō benevolently ministering to those in need. Similarly, raigō paintings featuring depictions of the Amida and entourage descending from paradise to greet the souls of the recently deceased faithful enjoyed considerable popularity.

As was the case with sculptural representation, immediacy and accessibility were the most desired attributes of religious iconography. Religious foundations made extensive use of the narrative scroll format to honour sect anniversaries or histories and to document the biographies of founders and other major personalities. Such works as the Hōnen shōnin eden and the Ippen shōnin gyojo eden present biographies of the priests Hōnen, founder of the Pure Land sect, and Ippen, beloved charismatic who founded an Amidist subgroup, the Ji sect. In vitality of defining brushwork, rich palette, and lavish depiction of the sundry details of contemporaneous existence, these and similar works serve as essential records of the material culture of the Kamakura period; but in a more profound religious sense, they are visual evidence of the strong Japanese penchant for grounding the spiritual experience in the easily approachable guise of everyday life.

The use of iconography in Zen Buddhism was not as extensive as in other sects, but mentor and patriarch portraiture played a significant role in the ritual of the transmission of teaching authority. Here too, the penetrating effect of presence was the quality most sought in these visages. Ink monochrome painting was also employed by Zen adepts as a form of participatory spiritual exercise. In addition to representations of personages or historic moments, real or legendary, associated with Zen, Zen painters also depicted subjects not obviously religious in theme. Bird-and-flower paintings were created and queried for insights into spiritual meaning, and gradually the landscape painting offered accretions of symbolic meaning indicative of internal, spiritual journeys.

During the Kamakura period, Buddhism continued and strengthened systematic efforts to incorporate the indigenous religion , Shintō , by identifying local gods and numinous presences as manifestations of Buddhist deities. This system was called honchi-suijaku , and its principles were applied extensively. Religious paintings often depicted the figures of both Buddhist and Shintō manifestation in some mandala-like format. Likewise, Buddhist paintings, especially of the honchi-suijaku type, frequently incorporated Shintō sacred sites into their landscapes. Not precisely of this type but a sublime derivative is the icon of Nachi Falls. There, a sacred site on the Kii Peninsula south of Ise reveals the haunting presence of the great, constantly plunging force which all but overwhelms the small architecture of the Shintō shrine that honours the natural site. Thus, certain Buddhist traditional painting techniques revealed the sacredness of adopted territory.

In the realm of secular painting, as in the religious world noted above, the narrative scroll continued to develop as an essential expressive format. The popularity of war tales, appropriate to the climate inspired by the interests of the new national leadership and by the threat and reality of foreign invasion, is readily apparent in extant paintings commemorating various domestic martial episodes. Few paintings of the period capture the force, confusion, and terror of battle as effectively as does the episode of the burning of the Sanjō Palace in the Heiji monogatari emaki . Here, the artist uses highly animated, modulated strokes of defining ink, judicious, repetitive patterning, and the application of opaque colour to produce a series of carefully joined vignettes that intimately and actively tell the story.

The court, although stripped of political power, continued to be an arbiter of cultural matters. Most especially, it dominated the development of a national literature and the rendering of that literature in relation to painting and calligraphy. The various modes of joining word and image continued to be the specialized purview of aristocratic culture. In the early 13th century important anthologies were assembled of the works of the 36 ancient poets who had been “canonized” in the Heian period, and portraits of these masters were popular painting subjects. Often, the horizontal narrative scroll format was used to present the poets as if they were engaged in poetry competitions, composing linked verse ( renga ), with representative verse juxtaposed by their images. Thus, even the comparatively subdued ambience of court culture was animated by the format so attuned to the dynamism of the period. The 36-poet genre was thereafter a resilient theme and a standard way of expressing high literary reference in painting.

Secular portraiture saw developments stimulated in part by the central role of patriarch and mentor portraits in the Zen tradition. The schematic or generalized visages of the Heian period indigenous traditions were influenced by these imported developments. Court and military portraits of the period tend to present the subject in the stiff, opaque, and decorative surrounding typical of Heian style, but faces are more realistically and individually rendered.

52 Japanese Art Essay Topic Ideas & Examples

🏆 best japanese art topic ideas & essay examples, 🎓 good research topics about japanese art, 🥇 interesting topics to write about japanese art.

• The Complexity of Traditional Chinese and Japanese Theater Arts Comedic plays gained popularity since the start of the theater in 1603, but public outrage over the vulgarity and excess eroticism of kabuki led to the government prohibiting women from acting in the plays.
• Effects of Globalization in the Contemporary Japanese Art They have in turn influenced the art of painting in Japan to develop it and push it to a global level.
• V. Horta’s Tassel Hotel and the Pavilion for Japanese Art by B. Goff The Art Nouveau works of art are characterized by the use of the new materials and technologies from one side and the motives of the ancient myths and spiritual world on the other.
• Japanese Shrines Architecture Uniqueness They also concentrated much on the visual elegance and the actual balance of the building compared to the level of the environment.
• Mono-Ha. Japanese Art Style. Concepts and Impact on Cultural Trends These movements and styles developed as a result of a special vision of the world common for Japanese people who are known for their devotion and tender affection to nature and its beauty, and the […]
• Japanese Painters: Asai Chu and Hashimoto Hashimoto Sadhide a renowned Japanese painter born in 1807 and he died in 1878; the painter lived in the city of Yokohama which was known to be a western settlement.
• The Influence of Japanese Art Upon Mary Cassatt Critics admit that Japanese motifs are evident in her works especially in her entire work, devoted to the representation of woman and the child, which is a kind of revenge for repressed maternity: unmarried, she […]
• Traditional Japanese Architecture One of the major causes of the abovementioned twists has been the commencement of Buddhism in the country, which was greatly influenced by the socialism from China.”Beasley believes that “by the eleventh century the Chinese […]
• Women in Art: Yayoi Kusama, Maya Lin, Zaha Hadid In her autobiography, Kusama says that “deep in the mountains of Nagano,” where she was born in 1929, she had discovered her style of expression: “ink paintings featuring accumulations of tiny dots and pen drawings […]
• Yayoi Kusama’s Art and Oriental Way of Life Such a point of view is, of course, is fully legitimate – especially given the unconventional aesthetic subtleties of Kusama’s artistic installations, the long history of psychosis, on the author’s part, and the fact that […]
• Kimono Art in Traditional Japanese Clothing The Kimonos were introduced in the Japanese culture during the Heian period. The government of the time agitated for westernization, where the Japanese people were to adopt western culture including the western attire.
• Ancient Egyptian and Japanese Art: Comparative Analysis
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• Comparative Analysis of Chinese and Japanese Art
• Exploring the Unique Japanese Art
• Impressionist Artists and the Influence of Japanese Art
• Overview and Analysis of Japanese Art and Culture
• Japanese Art During the Asuka Period
• Kabuki, the Japanese Art vs. Puccini’s Madame Butterfly: Comparison
• Japanese Art Infused Into the Temple of Todaiji
• Overview and Analysis of Modern Japanese Art
• Japanese Art: Shinto vs. Buddhism
• Origami: The Japanese Art of Paper Folding
• Japanese Art: World War II and American Occupation
• The Great 19th Century Impressionists Influenced by Japanese Art
• Urawaza: The Japanese Art of Lifehacking
• The Effect of Culture and Mythology on Japanese Art
• Japanese Manga as an Art Form
• A Study of the Origin of Judo and Jujutsu, a Japanese Art
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• The Most Collected and Popular Kind of Art, the Japanese Art
• The History of Japanese Art Before 1333
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Upheaval and Experimental Change:

Japanese art from 1945 to the end of the 1970s, by hajime nariai curator, tokyo station gallery and adjunct professor at joshibi university of art and design, tokyo.

In the summer of 2015, the phrase “the 70th year of the postwar era” appeared in all the Japanese newspapers. I wonder if there are any other nations that have been burdened with the term “postwar” for such a long time, in our case continuously since the end of World War II. According to Eiji Oguma, one of Japan’s most noted sociologists, “postwar” is not a term of periodization rather its meaning, in Japan, is equivalent to “nation-building.” Indeed, the summer of 1945 saw the national structure of our country redesigned from the ground up.

It could be said that the first thirty years of “the history of Japanese postwar art,” which I will quickly survey in this essay, is a trajectory of very fresh artistic activities in a newly born (or re-born) country. During this period, Japan raced along at a high speed, beginning from a jump-start to a fast acceleration and then proceeding at a steady rate. The 1950s witnessed a new society arise from vast areas of scorched ground, the 1960s an era when Japan become an economic power through its incredible growth, and, in the 1970s, a maturation period, with the arrival of a fully developed consumer and information-based society.

Along with this, Japan’s art underwent drastic changes and shifts. Emerging from the deeply engraved mark of 1945 as the beginning of the “contemporary”, artworks made during this period possess an enduring rawness and vitality, making them feel contemporary even today, decades after their creation.

In the first half of the “postwar” period, Japanese artistic practice grew with drastic changes, winding through new styles and bold gestures of experimentation. As a body undergoing intense growth spurts in a short period of time, these initial decades were characterized by unexpected twists and strains, aimed at destabilizing many previous and established conventions of art making and Japanese aesthetics. Japanese society, and its artists, grappled with the conflicting experiences of liberation from the Imperial and intensely nationalistic governance and, at the same time, intense reactions towards Americanization and the occupation that characterized these initial decades after the war ended. What is surprising is that the identity of Japanese contemporary art remains elusive and shaky, despite these seminal forerunners’ pursuits. At present, we in Japan are still formalizing a fully authorized Japanese postwar art history and confronting our own contemporary art.

1945 to the 1950s: Wound or Reset

Sur-documentalism and avant-garde.

After the Allied occupation from 1945, Japan finally recovered its sovereignty through the San Francisco Peace Treaty in 1952. Two main types of artists pioneered new directions in this highly-charged period: those who viewed Japan s defeat as a wound and those who approached it as a reset.

Sur-documentalism, advocated by the writer and critic Kiyoteru Hanada as a new type of realism, applied aesthetics associated with Surrealism to paintings, shedding light on social injustices and revealing deeper layers of reality. Also known as its alias, “Reportage Paintings”, works by artists of this movement (Tatsuo Ikeda, Kikuji Yamashita, etc.) portrayed oppressed people and controversial incidents as caricature, based on their first-hand investigation of the dark sides of society.

In contrast, the avant-garde artists initiated artistic innovation through their unconventional methodologies. As inheritors of the pre-war generation of avant-garde painters, such as Yoshishige Saito and Takeo Yamaguchi who established the group Kyushitsukai (Ninth Room Association), these artists would form the mainstream of the early postwar Japanese art history; the groups Jikken Kobo (Experimental Workshop) in Tokyo and Gutai in Osaka. Formed around the critic Shuzo Takiguchi in 1951, Jikken Kobo was composed of members who were as curious as laboratory workers about experimentation, engaging in cutting-edge, all-encompassing, works of art, by incorporating industrial technologies, music, theater and different media. Gutai, formed in 1954, was different.

Responding to the proposition, “Do what no one has ever done before,” the favored dictum of its leader and chief proponent, Jiro Yoshihara, Gutai s members invented radical ways of art making, such as painting with feet (Kazuo Shiraga) or calling an electric circuit a painting (Atsuko Tanaka). Yoshihara himself had been a member of Kyushitsukai (Ninth Room Association) and also made Surrealistic paintings and calligraphically-based abstractions. Inviting the formless such as bodily actions and fluid materials to the notion of painting, Gutai works were described by Allan Kaprow as a precursor of Happenings, and positioned by Michel Tapi as a representative of Art Informel. It is possible to view Gutai paintings as works emancipated from all restraints associated with modern art, and with a kinship to their contemporaries such as Jackson Pollock and Robert Rauschenberg.

I wonder if there are any other nations that have been burdened with the term “postwar” for such a long time.

1960s: Art Informel Sensation and Revelry

The escalation of anti-art.

Art Informel, a French term describing various styles of abstract painting that were gestural during the 1940s and 1950s, was associated with Gutai and possessed strong ties with Japan. Prior to the founding of Gutai, Japanese painters including Toshimitsu Ima , Hisao Domoto and Kumi Sugai, were already associated with this movement in France and its creative resonance, as well as its break from tradition in modernism, was distinctively felt in Japan.

Introduced into Japan in the late 1950s, Art Informel advocated the materiality of paints and the act of painting itself and instigated the production of anarchistic works oozing intense emotions amongst the younger artists. The Yomiuri Independent, an annual, unjuried and non-competitive exhibition, became their platform, filled with odd, almost garbage-like works combined with movement and sound, often made of discarded everyday items and obsolete materials. Continuing until 1963, this annual exhibition produced many young stars, such as Ushio Shinohara, Tetsumi Kudo and Hi-Red Center, and ended when the self-destructive craze by radical artists, so-called “Anti-Art,” reached its peak in the early 1960s.

Anti-Art emerged as part of the globally erupting counterculture. Not only art, but also culture in general in Japan, saw an explosion of often brutal, savage or wild body performances as well as archaic and more traditional visuals. It was resistance against modernity, propelled by the complication of people’s mixed feelings: they loved and hated the postwar modernization, because what it actually meant to them was nothing short of full scale Americanization. Cultural icons of this period include Tatsumi Hijikata’s Butoh dance focusing on the Japanese body, Juro Kara’s and Shuji Terayama’s Angura (Underground) Theatre and the signature blurry photographs (are, bure, boke) by Daido Moriyama and Takuma Nakahara, as well as kitsch posters by Tadanori Yokoo. Even as the basic attitude of the artists was “anti-establishment,” this radical and festive mood was also intrinsically bound up with Japan’s elation, buoyed up by two enormous national events: the 1964 Summer Olympics (Tokyo) and Expo ’70 (Osaka).

1970s: The Calm after the Storm

The triumph of mono-ha.

After the revelry comes repose. The hot resistance, which characterized the 1960s, gradually shifted to cool-headed questionings. After each and every existing institution and value related to art was challenged, the next target set upon was the artist s intention. From this came a style of not making, later called Mono-ha. Artists who emerged in the late 1960s, such as Lee Ufan, who placed rocks on broken glass, and Kishio Suga, who, in a matter-of-fact way, leaned square pieces of timber against architecture, employed minimal materials and actions to explore primordial relationships with the world.

With Lee Ufan, well informed by both Eastern and Western philosophies, as its theoretical pillar, Mono-ha was not a group but a tendency of loosely interconnected artists, unintentionally coinciding with the contemporary ascetic practices such as Minimalism and Arte Povera. The ambiguity of the Japanese term mono, which covers various concepts such as objects, materials, things, and even situations, indicates their specific orientation. Staying away from articulate symbolization and objectification of the world, namely anthropocentrism, the Mono-Ha artists attempted to touch the intrinsic mystery of the world with no distinctions between objects and situations. Moreover, their practice of not making was interrelated with a new stream of conceptualism, in which works made solely of words emerged one after another, from artists like Jiro Takamatsu and Yutaka Matsuzawa. In stark contrast to the 1960s, art in the 1970s was nourished by such a style of rational contemplation.

At the same time, works using reproducible media blossomed, not only in the field of visual art but also in other genres such as anime, manga, illustration and graphic design, fueled by the growth of accessible technology such as video and in popular culture with the widespread availability of the TV and magazines. Such cultural activities, centered around consumer industries, functioned as an incubator for the genealogy of art after the 80s, in which glamour and flamboyance would be regained.

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Home — Essay Samples — Arts & Culture — Art History — The History Of Japanese Art Before 1333

The History of Japanese Art before 1333

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108 Japanese Culture Essay Topic Ideas & Examples

Inside This Article

Japan is a country rich in history and tradition, with a unique culture that has captivated people from around the world. If you are studying Japanese culture or simply have an interest in learning more about it, here are 108 essay topic ideas and examples to help you explore this fascinating subject.

• The history of samurai culture
• Traditional Japanese tea ceremonies
• The significance of cherry blossoms in Japanese culture
• Shintoism and its influence on Japanese society
• The art of calligraphy in Japan
• The role of geishas in Japanese culture
• Japanese martial arts: karate, judo, and kendo
• The evolution of sushi and its cultural significance
• The tradition of hanami (cherry blossom viewing)
• The importance of family in Japanese culture
• The influence of Buddhism on Japanese culture
• Traditional Japanese architecture: temples and shrines
• The concept of wabi-sabi in Japanese aesthetics
• The history and significance of kabuki theater
• Japanese festivals: Matsuri and Obon
• The art of bonsai cultivation
• The role of kimono in Japanese fashion
• The tradition of sumo wrestling
• Japanese folklore and mythology
• The history of sake brewing in Japan
• The cultural significance of Mount Fuji
• Japanese traditional music: gagaku and shamisen
• The art of origami and its cultural importance
• The history of ukiyo-e woodblock prints
• Japanese traditional dance: Noh and Kabuki
• The influence of manga and anime on Japanese culture
• The history of Japanese cinema
• The art of ikebana flower arranging
• The significance of torii gates in Shinto shrines
• The tradition of onsen (hot springs) in Japan
• The cultural impact of haiku poetry
• Traditional Japanese puppet theater: Bunraku
• The origins of Japanese kanji characters
• The history of Japanese tattooing
• The importance of rice in Japanese cuisine
• The art of traditional Japanese pottery: kintsugi
• The role of the tea house in Japanese culture
• The significance of the Japanese flag
• The cultural impact of cherry blossom festivals
• The art of Japanese sword-making: katana
• The history of Japanese gardens
• The tradition of hanafuda card games
• The influence of Confucianism on Japanese culture
• The role of the emperor in Japanese society
• The significance of the geisha district in Kyoto
• Japanese traditional puppetry: kugutsu
• The art of Japanese paper folding: kirigami
• The history of Japanese sake breweries
• The cultural impact of cherry blossom viewing parties
• The tradition of Japanese flower arranging: ikebana
• The role of tea houses in Japanese society
• The significance of Japanese calligraphy
• The influence of Zen Buddhism on Japanese culture
• The art of traditional Japanese ceramics: raku
• The history of Japanese woodblock printing
• The tradition of Japanese kite festivals
• The cultural impact of Japanese puppet theater
• The significance of the Japanese tea ceremony
• The role of sumo wrestling in Japanese society
• The art of traditional Japanese puppetry: bunraku
• The history of Japanese traditional music
• The cultural impact of Japanese tea houses
• The significance of cherry blossom festivals in Japan
• The role of geisha in Japanese society
• The art of Japanese paper folding: origami
• The history of traditional Japanese pottery
• The tradition of Japanese hot springs: onsen
• The cultural impact of Japanese tattooing
• The significance of Japanese sword-making
• The role of rice in Japanese cuisine
• The art of traditional Japanese ceramics
• The history of Japanese woodblock prints
• The tradition of Japanese kite flying
• The cultural impact of Japanese cherry blossom viewing
• The significance of Japanese tea ceremonies
• The role of sumo wrestlers in Japanese society
• The art of traditional Japanese puppetry
• The history of Japanese traditional dance
• The tradition of Japanese flower arranging
• The role of geisha in Japanese culture
• The art of Japanese paper folding
• The tradition of Japanese hot springs
• The cultural impact of Japanese tattoo art
• The role of rice in Japanese society
• The cultural impact of cherry blossom viewing

In conclusion, Japanese culture is a rich and diverse subject that offers endless opportunities for exploration and study. Whether you are interested in traditional arts and crafts, religious practices, or culinary traditions, there is something for everyone to discover in the fascinating world of Japanese culture. So pick a topic that piques your interest and start delving into the vibrant and captivating world of Japan.

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Heilbrunn Timeline of Art History Essays

Illustrated Legends of the Kitano Tenjin Shrine (Kitano Tenjin engi emaki)

Mandala of Wakamiya of Kasuga Shrine (Kasuga wakamiya mandara)

Mandala of Kumano Shrine

Unidentified artist

Department of Asian Art , The Metropolitan Museum of Art

October 2002

The ancient Japanese found divinity manifested within nature itself. Flowering peaks, flowing rivers, and venerable trees, for example, were thought to be sanctified by the deities, or kami , that inhabited them. This indigenous “Way of the Gods,” or Shinto, can be understood as a multifaceted assembly of practices, attitudes, and institutions that express the Japanese people’s relationship with their land and the lifecycles of the earth and humans. Shinto emerged gradually in ancient times and is distinctive in that it has no founder, no sacred books, no teachers, no saints, and no well-defined pantheon. It never developed a moral order or a hierarchical priesthood and did not offer salvation after death. The oldest type of Shinto ceremonies that could be called religious were dedicated to agriculture and always emphasized ritual purity. Worship took place outdoors at sites proclaimed to be sacred. In time, however, the ancient Japanese built permanent structures to honor their gods. Shrines were usually built on mountains or in rural areas, often on unlevel ground, without any symmetrical plan.

In Japan, anthropomorphic representations of gods were unknown before the spread of Buddhism , although deities were symbolically associated with sacred objects, such as mirrors, swords , and jewels, that became imperial insignia. Following the advent of the new religion, Shintoists began to make images. The form of worship, however, did not change, as representations of gods were hidden away in the inner sanctuary of the Shinto shrine, adherents demonstrating their faith—at the entrance—simply by clapping their hands.

Department of Asian Art. “Shinto.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/shin/hd_shin.htm (October 2002)

Further Reading

Mason, Penelope. History of Japanese Art . Upper Saddle River, N.J.: Pearson Prentice Hall, 2004.

Varley, H. Paul. Japanese Culture . Honolulu: University of Hawaii Press, 2000.

Additional Essays by Department of Asian Art

• Department of Asian Art. “ Mauryan Empire (ca. 323–185 B.C.) .” (October 2000)
• Department of Asian Art. “ Zen Buddhism .” (October 2002)
• Department of Asian Art. “ Chinese Cloisonné .” (October 2004)
• Department of Asian Art. “ Chinese Gardens and Collectors’ Rocks .” (October 2004)
• Department of Asian Art. “ Landscape Painting in Chinese Art .” (October 2004)
• Department of Asian Art. “ Nature in Chinese Culture .” (October 2004)
• Department of Asian Art. “ Han Dynasty (206 B.C.–220 A.D.) .” (October 2000)
• Department of Asian Art. “ Kushan Empire (ca. Second Century B.C.–Third Century A.D.) .” (October 2000)
• Department of Asian Art. “ Qin Dynasty (221–206 B.C.) .” (October 2000)
• Department of Asian Art. “ Rinpa Painting Style .” (October 2003)
• Department of Asian Art. “ Jōmon Culture (ca. 10,500–ca. 300 B.C.) .” (October 2002)
• Department of Asian Art. “ The Kano School of Painting .” (October 2003)
• Department of Asian Art. “ Woodblock Prints in the Ukiyo-e Style .” (October 2003)
• Department of Asian Art. “ Traditional Chinese Painting in the Twentieth Century .” (October 2004)
• Department of Asian Art. “ Ming Dynasty (1368–1644) .” (October 2002)
• Department of Asian Art. “ Northern Song Dynasty (960–1127) .” (October 2001)
• Department of Asian Art. “ Period of the Northern and Southern Dynasties (386–581) .” (October 2002)
• Department of Asian Art. “ Southern Song Dynasty (1127–1279) .” (October 2001)
• Department of Asian Art. “ Tang Dynasty (618–907) .” (October 2001)
• Department of Asian Art. “ Yayoi Culture (ca. 300 B.C.–300 A.D.) .” (October 2002)
• Department of Asian Art. “ Yuan Dynasty (1271–1368) .” (October 2001)
• Department of Asian Art. “ Art of the Pleasure Quarters and the Ukiyo-e Style .” (October 2004)
• Department of Asian Art. “ Scholar-Officials of China .” (October 2004)
• Department of Asian Art. “ Kofun Period (ca. 300–710) .” (October 2002)
• Department of Asian Art. “ Shunga Dynasty (ca. Second–First Century B.C.) .” (October 2000)
• Department of Asian Art. “ Lacquerware of East Asia .” (October 2004)
• Department of Asian Art. “ Painting Formats in East Asian Art .” (October 2004)
• Department of Asian Art. “ Asuka and Nara Periods (538–794) .” (October 2002)
• Department of Asian Art. “ Heian Period (794–1185) .” (October 2002)
• Department of Asian Art. “ Kamakura and Nanbokucho Periods (1185–1392) .” (October 2002)
• Department of Asian Art. “ Momoyama Period (1573–1615) .” (October 2002)
• Department of Asian Art. “ Neolithic Period in China .” (October 2004)
• Department of Asian Art. “ Muromachi Period (1392–1573) .” (October 2002)
• Department of Asian Art. “ Samurai .” (October 2002)
• Department of Asian Art. “ Seasonal Imagery in Japanese Art .” (October 2004)
• Department of Asian Art. “ Shang and Zhou Dynasties: The Bronze Age of China .” (October 2004)
• Department of Asian Art. “ Shōguns and Art .” (October 2004)
• Department of Asian Art. “ Art of the Edo Period (1615–1868) .” (October 2003)

Related Essays

• Buddhism and Buddhist Art
• Kings of Brightness in Japanese Esoteric Buddhist Art
• Life of the Buddha
• Seasonal Imagery in Japanese Art
• Zen Buddhism
• Asuka and Nara Periods (538–794)
• Heian Period (794–1185)
• Japanese Illustrated Handscrolls
• Japanese Incense
• Japanese Weddings in the Edo Period (1615–1868)
• Jōmon Culture (ca. 10,500–ca. 300 B.C.)
• Kamakura and Nanbokucho Periods (1185–1392)
• Kofun Period (ca. 300–710)
• Momoyama Period (1573–1615)
• Muromachi Period (1392–1573)
• Painting Formats in East Asian Art
• Shōguns and Art
• Yayoi Culture (ca. 300 B.C.–300 A.D.)

List of Rulers

• List of Rulers of Japan
• Japan, 1000 B.C.–1 A.D.
• Japan, 1000–1400 A.D.
• Japan, 1400–1600 A.D.
• Japan, 1–500 A.D.
• Japan, 2000–1000 B.C.
• Japan, 500–1000 A.D.
• Japan, 8000–2000 B.C.
• Anthropomorphism
• Architecture
• Deity / Religious Figure
• Funerary Art
• Immortality
• Japanese Literature / Poetry
• Literature / Poetry
• Religious Art