| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "JAPANESE ART NATURE": |
|
|
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
»
Click here to show/hide summary
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.
| |
|
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
»
Click here to show/hide summary
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."
| |
|
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
»
Click here to show/hide summary
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."
| |
|
Japanese Art, 2007.
This paper studies the form and function of Japanese art.
921 words (approx. 3.7 pages), 5 sources, MLA, $ 32.95
»
Click here to show/hide summary
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."
| |
|
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
»
Click here to show/hide summary
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.
| |
|
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
»
Click here to show/hide summary
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."
| |
|
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
»
Click here to show/hide summary
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.
|
| Term Paper # 17918 |
temporarily unavailable
|
|
|
|
Japanese Thought and Nature in Modern Haiku, 2006.
This article discusses the influences and effects of haiku on Japanese culture and life.
2,635 words (approx. 10.5 pages), 8 sources, MLA, $ 79.95
»
Click here to show/hide summary
Abstract
Through the evolution and literary history of haiku, one can witness the trends in Japanese thought and culture. Among all the modern influences about which to write, haiku poets still find new ways to look at the traditional themes of nature and the natural world. Through their work, Japanese culture and thought is recorded. The relationship between haiku and Japanese thought is a long-standing one. The emphasis on giving up the extra, the nonessential, is simple to see in haiku-nonessential words are eliminated through the strict limits on form. Linkages between cultural understandings in everyday Japanese thought with the words and images used in haiku give an excellent starting point for examining the ways in which the two influence one another. In the article, each of these factors are examined.
From the Paper
"Japanese culture is known for its ability to make superb use of space. Japanese architecture melds form with function to keep Tokyo and other urban centers populous but workable, Japanese cuisine creatively utilizes spices and textures to stay fresh and interesting, and Japanese poetry exudes feeling and emotion with a minimal number of words. Centuries old, haiku is a structured and sparse form of poetry with strict rules regarding form. However, the form is only sparse in its word structure; the poems themselves portray significantly larger emotions and images than their size would suggest."
| |
|
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
»
Click here to show/hide summary
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. "
| |
|
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
»
Click here to show/hide summary
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.
| |
|
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
»
Click here to show/hide summary
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 ... "
| |
|
The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
»
Click here to show/hide summary
Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
| |
|
Vermeer: Japanese Style, 2003.
Shows the traits of Japanese art in the works of Dutch painter Johannes Vermeer.
867 words (approx. 3.5 pages), 7 sources, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
The works of the renowned Dutch master Vermeer (1632-1675) are comparable to Japanese art due to their dual appreciation and representation of unfilled space. He depicts subtle shades of luminous highlights, all incorporated within a meticulously ordered arrangement. The paper discusses the paintings ?The Geographer?, 'The Woman Holding the Balance' and 'The Music Lesson' - all of which echo ideas established by Japanese art. It shows that these paintings reveal an era where the general interest lay in exquisite furniture, beautiful women and extravagant attires. These carefully observed and accurately drawn paintings of the 17th-century were branded by a geometrical sense of balance, order and refinement; their suggestiveness analogous to the Japanese design.
From the Paper
"The Japanese aesthetic, Wabi-Sabi, is the ability to discover the beauty of imperfection. Similar to Zen Buddhism, Wabi-Sabi cherishes qualities that are earthy, modest, rustic and unassuming. Ordinary items are appreciated for their seeming beauty, such as budding flowers. Many Japanese landscape paintings portray nature when it?s growing instead of when it?s full-blossomed; it allows for our imagination to finish what it began. It stirs up the internal quintessence of an object but only provides a subtle presence; rationale is secondary to perception; mood means more than an accurate depiction. This deliberately suggestive style allows for the beauty incompleteness and omission to be valued."
| |
|
Japanese Sculpture, 2002.
A look at the uses of Naturalism and Realism in Japanese sculpture.
1,400 words (approx. 5.6 pages), 4 sources, $ 53.95
»
Click here to show/hide summary
Abstract
This six-page paper presents a detailed and in-depth discussion about realism and naturalism in Japanese art including and focusing on sculpture. The author takes the reader on a look at the history of the art form as well as the current use of the concepts in the modern artist's repertoire.
|
|
|
