Abstract This paper shows how Chinese calligraphy is a representational art for, and that it provides pictorial representations of the words and concepts that is describes.
Abstract The paper explains the importance of Geisha to the Japanese culture. The paper explains that Geisha means "a person of the arts" and the typical geisha was adept in flower arranging, calligraphy, music, dance, and the unique Japanese tea ceremony. The paper describes the art exhibit that will include the Kimono traditional clothing, Ikebana (flower arranging) and Japanese calligraphy. The paper relates that visitors to the art exhibition will leave with a clear understanding of geisha's striking contrast with the reserved nature of the regular Japanese culture. The paper includes images of the Kimono clothing, flower arranging and Japanese calligraphy.
Outline:
Geisha Art Display
The Art Pieces
Kimono
Ikebana
Calligraphy
From the Paper "To understand the importance of Geisha to the Japanese culture as well as its significance within that culture, one must first understand Japanese culture. Within Japan the Japanese language epitomizes the culture with its emphasis on order and structure while such aspects as clothing, epitomized by the kimono which means literally "something that is worn" are widely seen within the culture as the ideal of Japanese garments (Sugimoto 43). Additionally, Japanese culture takes art forms such as painting, wood block prints, and especially calligraphy based on Chinese characters and makes of them a highly stylized, abstract art form. Yet, Japanese are, in their daily lives, quite reserved and adhere to strict social mores regarding behavior, speech, and a high regard for social order (Sugimoto 14). Thus, it can be imagined that where the typical historical Japanese woman might be reserved and less forward in not wanting to bring attention to herself geisha became a highly stylized representation of the Japanese woman. That is, without the social constraints of folkway and mores that barred traditional Japanese women from self-expression, geisha might be thought of as the unconscious expression of how many women, and men, conceived them to be."
Abstract This paper examines how, by avoiding the depiction of zoomorphic images, Islamic artists were pressed to develop nonfigurative art which could still represent the beauty of Allah, the Koran, and their religion. In particular, the paper looks at how these artists accomplished this through intricate and seemingly infinite designs and through the art of calligraphy. The paper also examines how the formation of these techniques was so successful in conveying the religion of Islam that they have changed very little to this day, and many modern manuscripts, textiles, and wares can be found that resemble if not perfectly match those made during the medieval era. The paper also contains pictures of pieces of art.
From the Paper "Although some Islamic wares were made with metal or other materials, clay was used most often due to a Muslim prohibition on the use of precious metals . An exquisite wooden box made to house a copy of the Koran also has inscriptions of the Koran on the outside . Ceramics were in high demand, as clay was a much more abundant source than wood or other humble materials. Ceramic tiles used to decorate buildings often included passages from the Koran in their designs, as do the star shaped tiles from the workshops of Kashan . Many bowls and cups included the text of the Koran painted on them in slip, but most often they were inscribed with single words like "happiness," or "comprehension." They were also painted with blessings for the owner or user of the item. Another common use of text in ceramics came to be the painting of proverbs. A 10th century bowl from Iran is painted with the wise words "He who talks much, errs much"."
Abstract This paper examines what is the existing connection between religion and art. The author provides an overview of Zen, Buddhism, Daoism and Taoism. Then, he describes what type of art emerged from these religions.
From the Paper "But, of course, in our multi-cultural society, it is not only Christianity that makes its way into business practices. This paper explores the connections between the religious system of Zen Buddhism and the practice of pottery, examining the intimate and intricate ways in which systems of thought have become married to systems of action. This idea is based on the fact that an acquaintance, which was raised as a Methodist, married a Buddhist man (raised in Japan) and decided to begin practicing Buddhism. She found that her job as a sixth-grade teacher, while rewarding in many ways, became increasingly out of tune with her new religious beliefs and so she quit and opened a pottery studio. She now teaches pottery and sells her own work, a business that she believes has brought her a deeper understanding of the essence of Buddhist practice and belied (Nakashima, personal communication)."
Tags: society teachers meditation arts and crafts ceramics painting calligraphy gardening architecture, tea drinking fencing archery
Examines the basic tenets of religion, based on the Quran and the impact on Islamic art and craft. Discusses the Quran as art and the view of Muslims toward art, architecture and calligraphy.
2,700 words (approx. 10.8 pages), 7 sources, 1999, $ 95.95
Abstract Art is influenced by a number of forces in society, in the environment, in the psychology of the people who produce and consume it, and in different institutions. Art is an expression of inner feel
From the Paper "INTRODUCTION
Art is influenced by a number of forces in society, in the environment, in the psychology of the people who produce and consume it, and in different institutions. Art is an expression of inner feelings and beliefs and so naturally is influenced by religion in many societies. Some religious systems speak of art directly or have tenets which influence what can and cannot be depicted in art. The Quran is the theological basis for Islam and shapes the way people in Islamic societies express themselves, and this includes how they express themselves through art and architecture. The "rules" are not always followed and may not always be clear, and Islamic art has changed through the centuries, showing that the precepts in the Koran are flexible enough to allow for aesthetic development. Islamic society, however ..."
Examines principles, philosophy and practice of Zen and how they are expressed in Far Eastern pottery, painting, haiku, rock gardens, flower arranging and calligraphy.
3,375 words (approx. 13.5 pages), 15 sources, 1999, $ 119.95
Abstract "This paper explores the connections between the philosophical and religious system of Zen Buddhism and visual and literary arts (especially pottery), examining the intimate and intricate ways in which systems of thought have become married to systems of action.
From the Paper "This paper explores the connections between the philosophical and religious system of Zen Buddhism and visual and literary arts (especially pottery), examining the intimate and intricate ways in which systems of thought have become married to systems of action.
Before beginning the examination of the specific ways in which Zen Buddhism has become linked to various arts and crafts practices, it will be useful to give a brief history and background of the history of Zen and its more purely philosophical and religious elements.
Zen is a variant school of Buddhism that came about as the result of a fusion between the Mahayana form of Buddhism originating in India and the Chinese philosophy of Daoism or Taoism. Zen and Ch'an are, respectively, the Japanese and ..."
From the Paper "This study will examine the ways in which the religion of Islam is clearly reflected in its arts.
At the heart of Islam is the same monotheism which marks Judaism, and it is no surprise to discover that, as Pal writes, there are important parallels between Islam and Judaism with respect to their views on art. Pal writes that "As a religion Islam did not develop an artistic or iconographic tradition as Christianity or Buddhism did, but rather remained closer to Judaism in its emphasis upon the abstract" (Pal, 1973, p. 9).
There has been some misunderstanding with respect to the Islamic attitude toward imagery in art. Richardson writes that "Decorations in mosques such as the Islamic Center are confined to calligraphy and geometric designs. Islam forbids any art that depicts the human figure including that of Prophet Muhammad. Any ..."
Abstract The Literati where highly educated men who shared a common culture of Confucianism, refined men who also vied with each other at poetry, painting, and calligraphy. This paper examines the role of the literati in government between the 11th and 13th century.
This paper describes the Soka Gakkai, literally known as the "Value-Creating Society", whose membership believes in Nichiren Shoshu, the orthodox Buddhist teachings of Nichiren Daishonin.
Abstract This paper explains that the ultimate goal of Soka Gakkai is to secure lasting peace and happiness for all mankind through the worldwide propagation of the Buddhist faith. The author points out that one of the most striking characteristic of Soka Gakkai is the diversity of their membership, which represents a range of occupations and ethnic backgrounds and recognizes no distinctions of age, sex or social class. The paper relates that today Soka Gakkai's membership totals 8 million households, which makes it the largest and the most vital religious organization in Japan. The author explains that the association also arranges cultural exchanges throughout the world through museum displays of approximately 2000 artworks representing more than a dozen major genres, including ceramics, lacquer-ware, textiles and calligraphy of other countries.
From the Paper "Nichiren Daishonin states that enlightenment of an individual is possible by following his teachings. He believes that every person's life is precious as a jewel but they don't realize it. The Soka Gakkai, therefore, seeks to make people aware of the treasure within themselves and thereby help them realize their full potential as human beings. Furthermore, to Nichiren, everyone who was born in the earth has a purpose to fulfill, for everyone deserves respect. No one has the right to hurt or to control another. With their 3000 year old Buddhist teaching of respect of life, ..."
Tags: karma, antinuclear, pilgrimage, propagation, art
Abstract This paper presents a personal critique of Jan Van Eyck's 1434 painting, "The Marriage of Arnolfini." It discusses the scene in the painting and the possible meanings behind it. It specifically focuses on the possibility that the painting acted as a witness to the marriage of the subjects. The writer describes why this painting specifically appeals to her.
From the Paper "There is controversy whether the painting is considered a legal document recording Arnolfini's marriage, if it is just showing the betrothal of the couple, or if it is just a portrait. The artist wrote in calligraphy on the wall, just above the mirror, "Johannes de Eyck fuit hick 1434", which means Jan Van Eyck was here 1434. Of course the writing on the wall is quite an unusual place for the artist to leave his signature; I believe it alludes more towards the idea that he was a witness of the marriage. My theory, considering how artists in history had their subjects pose for them while painting, is that this was a portrait painted as a reenactment of their marriage as something to show guests how wealthy they were. It was common during that period for people to commission portraits, filled with symbolism alluding to wealth and happiness, to hang in their home."
Abstract This paper discusses the little that is known about Tawaraya Sotatsu's life and examines his painting of the Saigyo scroll. The paper shows how Sotatsu must have been a key figure in a Japanese renaissance. The paper concludes that by studying his work today, in the aftermath of abstract art, viewers have a renewed appreciation for his skillful deployment of line in his intricate designs.
Outline:
Tawaraya Sotatsu: His Life
Tawaraya Sotatsu: His Work
Conclusion
From the Paper "Tawaraya Sotatsu is one of the biggest names in the history of art in Japan. He was not always considered thus, however. He had fallen into obscurity for several centuries after his death, and it was not until the early 20th century that there was a sudden resurgence of interest in the painter's work. This probably had more than a little to do with the fact that Sotatsu's highly intricate designs appealed to the Modernist sensibility of the 20th century, which was always on the look out for new innovations. Some have even gone so far as to consider Sotatsu as the first true abstract artist."
Abstract In this article, the writer identifies the historical background and the origin of the Japanese tea ceremony and discusses how the complex nature of the tea ceremony bears the imprint of Japan's spiritual, ethics and aesthetic traditions. The writer argues that although the Japanese tea ceremony has its origin in China, it has now become a peculiarly cultural phenomenon to Japan, which has a great impact on many different aspects of Japanese culture. The writer maintains that the Japanese tea ceremony will continue to play an important role in Japanese culture and serve a great influence on intellectual and personal development of Japanese culture including pottery, calligraphy and flower arrangement. The writer concludes that it was the Japanese who expanded the ritual, philosophical, and aesthetic connotations in the tea ceremony, and turned it into a way of life.
From the Paper "Rikyu introduced the concept of ichigoichie that imprints Japan's spiritual and ethical tradition. The concept of ichigoichie explains that each occasion in our life would be only one chance that never can be repeated. This concept emphasises the value of each occasion to meet others and suggests that we should not neglect conducting appropriate behaviours and arrangements for it. Therefore, the utensils, flowers, vase and wall hangings in the tea ceremony are chosen carefully to suit the event, the time of year, and the desired atmosphere for each occasion.
"The selection of objects in a Japanese tea ceremony involves aesthetic traditions of the concept including wabi and sabi that are generally regarded as derived from the appreciation of Zen."
