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Japanese Art and Music, 2002.
An examination of the roots and influences of Japanese art and music.
1,326 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
This paper discusses how Japanese art is an impressive entity complete in itself with a unique identity of its own. It looks at how the field doesn?t primarily focus on paintings or prints and how instead everything, from sculpture to temple carvings occupy an important place in Japanese art. It analyzes its history of art by looking at different cultural influences. It also examines how Japanese music today is a rich amalgam of western and eastern traditions and how no matter how westernized the music becomes, the Japanese music industry cannot fully abandon the influence of eastern musical techniques because of its long and very vibrant history.
From the Paper
"Japanese music can technically be arranged into two broad categories: western and traditional composed in major and minor pentatonic scales. While there are various technical differences in western music of Japan and that of the rest of the world, still these are two categories that presently prevail in modern Japan. It is easier for the youth to identify with western style of music however Japan boasts of a long series of famous traditional singers who left an indelible mark the global music scene. One such singer was Misora Hibari who was born in 1937. The music scene in Japan is not only alive, it is constantly changing and adapting to the modern world around. This is probably the best way Japan can connect with the western societies and emerge out of the shackles of its restrictive traditions."
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Influence of Japanese Prints, 2004.
A look at the influence of Japanese printmaking on the Impressionist and Post-Impressionist artists.
3,402 words (approx. 13.6 pages), 9 sources, MLA, $ 96.95
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Abstract
This paper examines the way in which Japanese printmaking, especially ukiyo-e prints, allowed Impressionist and Post-Impressionist artists, such as Vincent Van Gogh and Paul Gauguin, to depart from the ?photographic realism? that was part of European painting before photography was invented. The paper also includes some images of the Japanese prints, as well as images of the work of some of the Impressionist and Post-Impressionist artists.
The Influence of Japanese Woodblock Prints and Western Photography
The Artists Themselves
Conclusion
From the Paper
"Ukiyo-e prints had something in common with the also increasingly popular photograph; neither one allowed the superficial depth of an oil painting or even a pastel. In addition, both media?the woodblock of the Japanese print and the paper and emulsion of the photography?produced relatively sharp edges compared to those produced by paint, and particularly by paint as used by the Impressionists, in more freehand style than had ever been seen before. So, at exactly the time that French artists, the Impressionists, had finally gotten away from the formalism that had marked the previous centuries of fine arts, two influences arrived to return some formality to the practice of art. In the case of photography, it was a simplistic realism produced by the rudimentary equipment that could not, at that point, capture nuance quite as well as modern photography can. Until the Impressionists, realism has been the aim of western artists, especially since the discovery of perspective in Italy during the Renaissance. While the definition of objects in photography was, obviously, realistic, the expression of them on the paper often was reduced almost to abstraction, with the necessarily highly contrasting lights and darks produced by early techniques and equipments. The very pronounced areas of positive and negative mimicked what could be produced by the Japanese woodblock ukiyo-e printing process. And that, in turn, influenced composition, even after the interesting experiments of Gauguin as well as Cassatt?s mode d?emploi of the drypoint and aquatint techniques."
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Japanese Art and Nature, 2002.
An overview of the connection between Japanese art and nature with a review of some Japanese works of art.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper examines the intimate connection that exists between Japanese art and nature. The author discusses the intimacy so many Japanese feel with nature, explains why artistic scenes of the natural world have been a dominant theme of Japanese artists, and analyzes why the Japanese have always had felt a need to express the intimacy they sense between humanity and nature. He also briefly describes some of the works of notable Japanese artists such as Utagawa Hiroshige, Shiki Sansuizu, and Toyo Sesshu.
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The Influence of Japanese Art, 2004.
This paper discusses the influence on many aspects of Western art by Japanese art, called Japonisme, commencing from mid-19th century to today.
3,280 words (approx. 13.1 pages), 12 sources, MLA, $ 94.95
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Abstract
This paper explains that American Impressionist Mary Cassatt began using a Japanese motif in works such as ?The Fitting?, one of a series of ten color prints, which are considered among the landmarks of Japonisme. The author points out that, while most American architects in the early 1900s looked to European architects for ideas, Frank Lloyd Wright found Japanese design and art more inspiring. The paper concludes that now, in the 21st century, Japanese creativity has taken a new approach based on electronic and computerized technology advances combined with art, called animation, or anime in the Japanese language, which is an art form eagerly consumed by the market.
From the Paper
"Van Gogh wrote his sister how Buddhism was also impacting his life. He even shaved his head to look more like Japanese. He deeply studied the works ?not to simply comprehend Japan art by copying it, but to dig down to the very roots of Japanese culture to be able to generate original creative impulses of his own from the encounter.? American artist Frank Benson painted Impressionist images of table settings that mingled Japanese, Chinese, and American objects. Benson also applied Japanese technical considerations to his paintings. This interest is especially evident in a group of black-watercolor washes that suggest the swiftness and economy of Japanese ink painting."
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Japanese Art, 2007.
This paper studies the form and function of Japanese art.
921 words (approx. 3.7 pages), 5 sources, MLA, $ 32.95
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Abstract
In this article, the writer looks at one of the most famous Japanese woodblock prints ever created, "The Great Wave at Kanagawa" . The writer notes that woodblock prints were a common form of Japanese two-dimensional art, involving the creation of a raised surface that was intended to either replicate a picture or create a new picture on the surface of a beautiful piece of paper. The writer then studies the three-dimensional "Ewer for Use in Tea Ceremony," which functioned as a wine server for the meal that takes place after the tea ceremony. The writer notes that today, it is considered an art form that observes the harmony between food and nature, and takes the diner on an odyssey of flavors, textures and colors. The writer concludes that the works of art considered, reflect the idea that artistic form and sacred function should be united in Japanese art and that the difficulty of artistic creation should not call attention to itself.
From the Paper
"How the food appears within the serving ware is just as important as the tastes of the food itself, and the harmony of the flavors of the meal are reflected in the harmony and balance of colors on the vessel. Unlike the woodblock, the images upon the vessel are not dramatic, although the vessel is crafted in an innovative fashion, in terms of its use of kiln technique and introduction of unexpected colors. The striking nature of the color reflects its function as a wine vessel, one of the stronger flavors of the kaiseki meal. The heavier, brighter flavors of the wine are intended as a balance to the flavors of Japanese rice wine, known as saki."
"Thus, within the woodblock composition there is balance, and the apparent ease with which the mountain withstands the terrible typhoon parallels the ease with which the woodblock artist creates, with great difficulty, the deceptively simple raised etching that creates a print."
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Japanese Martial Arts, 2005.
An overview of the history and philosophy of Japanese martial arts.
1,800 words (approx. 7.2 pages), 7 sources, MLA, $ 63.95
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Abstract
This paper discusses Japanese martial arts with an emphasis on Budo and the main purpose of Budo. The paper discusses the history and philosophy of Japanese martial arts and takes a look at its three main branches.
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Japanese and African Art, 2005.
An examination of how Japanese and African art have impacted Western art.
1,054 words (approx. 4.2 pages), 3 sources, MLA, $ 37.95
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Abstract
This paper explains that as explorers and empire builders brought back tales of exotic places, they also carried back with them artifacts and works of art from these "newly discovered" cultures and civilizations. The writer notes that as Western artists began to examine the artistic productions of different peoples - in particular the Japanese and the Africans - they discovered that strict realism and classical design were not the only possibilities. The flood of Japanese prints and African carvings and bronzes that reached Europe and America were to herald the beginning of a whole new era in Western art.
From the Paper
"Japanese prints inspired Western artists, such as Gaugin and Monet, to adopt the angular perspective of the Japanese masters. The picture plane became a set of intersecting planes positioned at different heights along the painting. This was a clear rejection of the traditional "scientific" methods of perspective representations that had been in use in Europe for hundreds of years. As well, European artists began to experiment with the bold color palettes of ukiyo-e. In the works of Toulouse-Kautrec, too, the influence of the Japanese woodblock artists can be powerfully scene. Toulouse-Lautrec's colors, perspective, and even subject matter owe a profound debt to these new influences. In fact, it could be said that Toulouse-Lautrec's lithographs represented a European interpretation of long-established Japanese genre. Much as the great ukiyo-e artists portrayed the "demimonde" of Tokugawa Japan, so too were these same actresses, prostitutes, and assorted habitues of the Paris underworld portrayed by Toulouse-Lautrec."
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Japanese Lacquer Art, 2002.
An overview of the origins and style of the Japanese lacquerware art form.
1,400 words (approx. 5.6 pages), 4 sources, $ 53.95
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Abstract
This paper will discuss the history and aesthetics of lacquerware in Japan. It will be seen that although the origins of this art form - like much of Japanese culture - lies in importation from China, Japanese artisans have over the course of centuries imposed their own unique styles and sense of aesthetics upon their lacquerware production.
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Zen Buddhism & Japanese Arts, 1989.
Describes tenets & practices of Zen & applies principles to painting, poetry & music. Looks at meditation, direct experience, haiku, simplicity and reality.
2,250 words (approx. 9.0 pages), 13 sources, $ 79.95
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From the Paper
"This paper will discuss Zen Buddhism, and the interrelationships among Zen philosophy, painting, poetry and music. Zen is a Japanese branch of Buddhism, the practice of which is largely based on meditation and introspection. The teachings of Zen are considered to have been directly passed down from Gautama Buddha himself, during the sixth century B.C. in India. After that time Zen teachings continued to be passed through direct transmission from one teacher to the next, and by the 12th and 13th centuries A.D., they had spread to China, Korea, and Japan.. Bodhidharma, the First Patriarch of Zen Buddhism, is credited with having first merged Indian Buddhism with Chinese philosophy, thereby establishing certain characteristics which would come to be associated with Zen in later years."
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Japanese Influence on Monet, 2005.
An examination of Japanese influence upon the work of French Impressionist Painter, Claude Monet.
1,125 words (approx. 4.5 pages), 7 sources, MLA, $ 39.95
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Abstract
This paper provides a look at Japanese influence upon the work of French Impressionist painter, Claude Monet. The paper looks at Monet's interest in the exotic and ancient Japanese art and culture and discusses the influence of Japanese woodblock prints on the art of the Impressionists.
From the Paper
"Influences of Japanese art and culture infuse much of modern society. It is easy to see reflections of Japanese culture in what might otherwise be considered a western or occidental world. Certainly we have witnessed the overwhelming and growing emulation of Japanese customs in our own society. The work of French impressionist painter Claude Monet seems to have what may be the first hints of Japanese influence in modern art. Here we will examine that influence in Monet's work as it relates to impressionism..."
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Japanese Culture Influenced by Sport, 2006.
An examination of the influence American sport has on Japanese culture.
1,082 words (approx. 4.3 pages), 5 sources, MLA, $ 37.95
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Abstract
The paper discusses the similarities between Sumo wrestling, martial arts and baseball. The writer notes that one of the influences on the Japanese culture is in connection with cheering. The writer details similarities and differences between Japanese and American sports events. The writer explains that the Japanese, who are usually more staid than Americans, cheer quite boisterously at sports events. In conclusion the writer states that American sports have influenced Japanese culture in all areas, including in the business culture, which is seen in the use of brand promotions at sports events.
From the Paper
"One example of the way American sports has influenced Japanese social forms is the way Japanese fans participate in cheering. The Japanese are generally courteous and take care not to embarrass a person before a group. They are especially polite when greeting strangers, and are slow to express their feelings to outsiders. However, none of these customs are evident in cheering at a sports event. "As such, the game here is slower paced and more strategic in Japan than its American forerunner. Also, Japanese teams revolve around their managers, who put their players through rigorous practice routines and spend a lot of time on the field during games in strategy sessions. Finally, baseball in Japan is more of a collective enterprise, and players don't receive the same attention and adulation that their colleagues in the United States enjoy."
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Japanese Cuisine: Japanese Culture and What They Eat, 2000.
A look at the exotic world of Japanese cuisine, including its health benefits and the importance that Japanese place on the presentation of a meal.
2,136 words (approx. 8.5 pages), 3 sources, $ 66.95
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From the Paper
"Within the Japanese cuisine, there contains many strange meals but there are myriads of delights that would make anybody?s tastes buds melt. Coming from a Japanese decent I have tried many of these tasty meals, but I would not take it too an extreme to say that I drink ?snakes blood for longevity?(Steinberg 6). Japanese meals are actually considered very healthy and low fat considered to the traditional American, southern fried chicken. Japanese food is served in little portions and displayed in a very exciting way to liven up every aspect of each savory bite. To liven up these dishes we often cut vegetables or fruits into tiny designs or animals, or organize each piece of meat and each small vegetable in a way that flatters the plate. Cutting and Slicing, mostly vegetables into meticulous designs, makes a dish its own work of art. "
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The Art of Hishikawa Moronobu, 2005.
This paper analyzes the artist Hishikawa Moronobu and his cultural influence on Japanese art.
2,250 words (approx. 9.0 pages), 6 sources, $ 89.95
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Abstract
This paper examines the influence of Hishikawa Moronobu on Japanese art before 1952. The paper shows how it is evident that down through the long centuries of Japanese history, the dialectical tension in Japanese society and culture between the competing traditions of high aesthetics and the military code has been expressed in thousands of paintings, books and works of art. The paper explains how at times, high aesthetics assumed greater social influence, while at other times, the militaristic tradition was dominant.
From the Paper
"The artistic aesthetics of Japan developed down through the centuries in a uniquely Japanese fashion, partly because of this isolated nation's geographic existence as a string of islands about one-hundred miles from the peninsula of Korea and five-hundred miles from China on the Asian mainland."
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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This study will consider a number of elements of the "submissive" middle class in Japanese society as described and analyzed in Karel van Wolferen's "The Enigma of Japanese Power"., 1991.
This study discusses the elements of the "submissive" middle class in Japanese society as described and analyzed in This study will consider a number of elements of the "submissive" middle class in Japanese society as described and analyzed in Karel van
1,350 words (approx. 5.4 pages), 1 source, $ 47.95
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From the Paper
"This study will consider a number of elements of the "submissive" middle class in Japanese society as described and analyzed in Karel van Wolferen's "The Enigma of Japanese Power".
The basis of much of the power and order of Japan in the world in the late years of the 20th century is what van Wolferen calls the "submissive" nature of that society. As the author notes, "The post-war aims of the Japanese System have been entrusted mainly to the economic organizations. The System is preoccupied with industrial and commercial pursuits.. " And industrial and commercial pursuits are successful because of submissive and obedient workers, who are modeled on the "salaryman" model.
As the author writes, " . . . The term 'salaryman' connotes much more than 'office clerk' or 'white-collar worker'; it stands ... "
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