The beauty, hidden in things, the Japanese opened in the IX-XII centuries, in Epchuhaian (794-1185) and even identified it with the special concept of "mono-but astore" (Yap. ???? (??????)) What does "sad charm of things" mean. "The charm of things" is one of the most early in the Japanese literature of the definitions of the beautiful, it is associated with the synthosist faith in the fact that his deity is concluded in each thing - and its unique charm. Avar is the inner essence of things, what causes delight, excitement.

Vasi (WASI) or Vagami (Wagami).
Manual paper making. Medieval Japanese valued Vasi not only for its practical qualities, but also for beauty. She was famous for its subtlety, almost transparency, which, however, did not lose her strength. Vasi is made from the cortex of the Kodzo tree (Mulberry) and some other trees.
Vasi paper is preserved during the centuries, evidence of the albums and volumes of old Japanese calligraphy, paintings, screen, engraving, which have come down through the century to this day.
Wasi paper is fibrous, if you look at the microscope, the gaps will be visible, through which air and sunlight penetrate. This quality is used in the manufacture of shirms and traditional Japanese lanterns.
Vasi souvenirs are very popular among Europeans. Many small and useful items are made from this paper: wallets, envelopes, fan. They are strong enough and easier.

Comono.
What remains from kimono, after it served his term? Think, you throw it away? Nothing like this! The Japanese will not do so never. Kimono thing is expensive. So just throw it unthinkable and impossible ... Along with other types of secondary use of Kimono, the craftsmen did small souvenirs from small lobs. These are both small toys for children, dolls, brooches, garlands, women's decorations and other products, old kimono is used in the manufacture of small cute little things, which are generalized called "Comono". The little things that will live their own life by continuing the way Kimono. This means the word "Common".

Midzohiki.
Analog Macrame. This is an ancient Japanese applied art of the tying of various nodes from special cords and creating patterns of them. Such works of art had an extremely wide range of applications - from gift cards and letters before hairstyles and handbags. Currently, Midzohiki is extremely widely used in the gifts industry - a gift, woven and lined in a completely definite way, relies to each event in life. There are extremely many nodes and compositions in the art of Midzohika, and not every Japanese knows them all by heart. Of course, there are the most common and simple nodes that are used most often: when congratulations on the birth of a child, a wedding or a commemoration, a birthday or an admission to the university.

Gokhei.
Paper strip talisman. Gokhei is a ritual rod of the Shinto Priest, to which paper zigzag strips are attached. The same strips of paper are postponed at the entrance to the Shinto Temple. The role of paper in Sintoism was traditionally very large, and the products of it always attached esoteric meaning. And faith in the fact that every thing, every phenomenon, even words, contain kami - deity - explains the appearance of such a kind of applied art as Gokhei. Sintoism is very similar to our paganism. For Shintoists, Kami settles especially willingly in everything that is unusual. For example, in paper. And even more so, Gokhei twisted in the wisen zigzag, who hangs and today in front of the entrance to the Shinto sanctoes and indicates the presence of a deity in the temple. There are 20 options for folding Gokhei, and those that are folded particularly unusual attract Kami. The advantage of the Gokhei white, but there are also golden, silver and many other shades. From the IX century in Japan lives a custom to strengthen Gokhei on the belts of SUMO Wrestlers before the fight.

Anesama.
This is the manufacture of paper dolls. In the 19th century, samurai wives did the dolls from the paper, in which children played, moved them into different clothes. In times, when there were no toys, Anesam was for children the only interlocutor, "fulfilling" the role of mother, the eldest sister, child and a friend.
The doll is folded from the Japanese paper Vasi, the hair is made from the steam paper, painted in ink and are covered with glue, which gives it gloss. A distinctive feature is a nice nose on an elongated face. Today, this simple, not requiring nothing but skillful hands, the traditional toy in shape continues to be manufactured in the same way as before.

Origami.
Ancient art of folding paper figures (j. ???, letters: "folded paper"). The art of origami is rooted in ancient China, where the paper was invented. Originally, origami was used in religious rites. For a long time, this type of art was available only to representatives of higher estates, where a sign of good tone was the ownership of a folding technique from paper. Only after World War II, origami went outside the East and got into America and Europe, where he immediately gained his fans. Classic origami is made up of a square sheet of paper.
There is a certain set of conditional signs necessary in order to draw a folding scheme of even the most complex product. Bo? The extended part of the conditioned signs was introduced into practice in the middle of the 20th century by the famous Japanese master Akira Yosidzavava.
Classic origami prescribes the use of one square uniformly painted sheet of paper without glue and scissors. Modern art forms sometimes depart from this canon.

Photo source: http://sibanime.ru/2152-yaponskie-tradicii-origami.html

Kirigami.
Kirigami is the art of cutting various figures of a folded piece of paper with scissors several times. The type of origami, in which the use of scissors and cutting paper in the process of manufacturing the model is allowed. This is the main difference between Kirigami from other paper folding techniques, which is underlined in the title: ?? (Kira) - cut ,? (Gami) - paper. We all loved to cut snowflakes in childhood - the version of Kirigami, you can cut in such a technique not only snowflakes, but also various figures, flowers, garlands and other cute pieces of paper. These products can be used as stencils for prints, decoration of albums, postcards, photo frames, in the design of clothing, interior and other different decoration.

Ikebana.
Ikebana, (Yap ??? or ????) Translated from the Japanese language - IKE "- Life," Ban "- Flowers, or" Flowers that live. " The Japanese art arrangement art is one of the most beautiful traditions of the Japanese people. When drawing up a oscaban, along with flowers, cut branches, leaves and shoots are used .. the principle of exquisite simplicity is used to achieve which they try to emphasize the natural beauty of plants. Ikebana is to create a new natural form in which the beauty of the flower and the beauty of the soul of the wizard creating the composition is harmoniously combined.
Today in Japan there are 4 largest schools of Ikeban: Ikenobo, Koryu (Koryu), Ohara (Ohara), Sogetsu. In addition to them there are about thousands of different directions and trends that adhere to one of these schools.

Oriban.
In the middle of the 17th century, two Schools of Okhara were departed from Ikenobo (the main form of Ikebany - Oriban) and Kori (the main form - the board). By the way, the school of Okhar still studies only Oriban. As the Japanese say, it is very important that origami does not turn into Origomi. Jomi in Japanese means garbage. After all, as it happens, I folded a piece of paper, and then what to do with it? Oriban offers a lot of ideas of bouquets for interior decoration. Oribana \u003d origami + ikebana

Oshiban.
The appearance of fine art born by floristry. Our floristry appeared eight years ago, although there are more than six hundred years in Japan. Once in the Middle Ages, Samurai suffered the path of the warrior. And Oshiban was part of this path, the same as the writing of the hieroglyphs and the ownership of the sword. The meaning of the Oshiban was that in the state of total presence in the moment (Satori), the master created a picture of dried flowers (fulfilled colors). Then this picture could serve as a key, conductor for those who were ready to enter into silence and survive that very sat.
The essence of the art of "Oshiban" is that, collecting and dries under the press flowers, herbs, leaves, bark and sticking them on the basis, the author creates a truly product of "painting" with plants. In other words, Oshibana is a painting by plants.
The artistic work of florists is based on the preservation of the form, color and textures of plant dried material. The Japanese have developed a methodology for preventing the "Oshiban" paintings from burnout and darkening. Its essence in the fact that air and the picture is pumped up air and a vacuum is created that does not give plants to deteriorate.
It attracts not only the non-traditionality of this art, but also the opportunity to show fantasy, the taste, knowledge of the properties of plants. Florists perform ornaments, landscapes, still lifes, portraits and plot paintings.

Tamari.
These are traditional Japanese geometrically embroidered balls, made by the simplest stitches, which once served as a children's toy, and now have become a form of applied art, having many fans not only in Japan, but also around the world. It is believed that a long time ago, these products were manufactured by samurai wives for entertainment. At the very beginning, they were really used as a ball for playing the ball, but step by step began to acquire art elements, turning later to decorative decorations. The gentle beauty of these balls is known throughout Japan. And today, colorful, carefully manufactured products are one of the types of folk crafts of Japan.

Jubes.
Japanese thimbles, with a manual sewing or embroidery, they are put on the middle phalanx of the middle finger of the working hand, with the help of the fingertips, the needle is given the desired direction, and the needle rings on the middle finger pushed at work. Initially, Japanese frosters of the mow were quite simple - a strip of dense tissue or leather about 1 cm wide in a few layers tightly turned around the finger and was fastened together with several simple decorative stitches. Since the jubiops were the necessary subject in each house, they began to decorate with geometric embroidery with silk threads. From the weave stitches, colorful and complex patterns were created. The mow from a simple life of the life has also turned into a subject for "loving", decorating everyday life.
The jubiops are still used when sewing and embroidery, but besides that they can be found and simply wear on their hands on any finger, like decorative rings. Embroidery in the style of the mushroom decorate different objects in the form of a ring - rings for napkins, bracelets, stands for tech, decorated with an embroidery of the jubios, even in the same style there are embroidered needles. Yubinuki willows can be an excellent source of inspiration for embroidery Obsemi.

Kanzashi.
The art of decorating hairpins (most often decorated with flowers (butterflies and so on.) From the fabric (mostly Schölk). Japanese Kanzashi (Kanzashi) is a long stud for the traditional Japanese female hairstyle. They were made of wood, varnish, silver, turtle shell Used in traditional Chinese and Japanese hairstyles. Approximately 400 years ago, the style of female hairstyle changed in Japan: women stopped combing hair in traditional shape - Taragami (long straight hair) and began to put them in intricate and bizarre forms - Nihongami. for hair styling We used various items - studs, sticks, ridges. It was then that even a simple comb-comb Kushi turns into elegant unusual beauty accessory, which becomes a real work of art. Japanese female traditional costume did not allow wrist eyed and necklaces, so hairstyle decorations were the main beauty and field For self-expression - as well as demonstrations of taste and thickness of the wallet Olya owners. On engravings, you can see - if you look at the Japanese, it was easy to put it in their hairstyles to twenty expensive Kanzashi.
Currently, there is a revival of traditions to use Kanzashi among young Japanese women who wish to add sophistication and elegance to their hairstyles, modern hairpins can be decorated with only one or two elegant needlewood flowers.

Kumikimo.
Kumichimo is a Japanese weaving laces-braids. When weave threads, ribps and laces are obtained. These laces are rushing on special machines - Marudai and Takaday. Miruday machine is used for weaving round shoelaces, and Takaday - flat. Kumikhimo translated from Japanese means "rope weaving" (Kumi - weaving, folding together, HIMO is a rope, lace). Despite the fact that historians persistently insist, as if such a weaving can be found in Scandinavians and the residents of the Andes, the Japanese art of Kumichimo is truly one of the most ancient types of weaving. The first mention of him refers to 550, when Buddhism spread throughout Japan and special ceremonies demanded special decorations. Later, the cumicho shoelaces began to use as a leaf belt clatter on the female kimono, as ropes for "packaging" of the entire samurai arms arsenal (Kumikhimo Samurai used in decorative and functional purposes to tie their armor and horse armor) as well as for a ligament of heavy items.
A variety of patterns of modern cumihimo weave very easily on homemade machines from cardboard.

Suibokuga or Sumie.
Japanese mascara painting. This Chinese painting style was borrowed by Japanese artists in the XIV century, and by the end of the XV century. turned into the main direction of painting in Japan. Sumybokuga monochrome. It is characterized by the use of black carcass (sui), solid wood coal, or made of Chinese carcashe, which is frozen in the steels, is diluted with water and is applied with a brush on paper or silk. Monochromicity offers the master endless selection of tonal options, which the Chinese have long been recognized by the "flowers" of the carcasses. Sumybokuga sometimes allows us to use real colors, but limits it with thin, transparent strokes, which always remain subordinate lines performed in a car. Painting in a carcass shares such essential characteristics with the art of calligraphy as tightly controlled expression and technical skill of the form. The quality of painting in mascara comes down, as in calligraphy, to integrity and resistance to breaking the line conducted by ink, which, as if he keeps the work of art, just like the bones hold the fabrics.

Etigami.
Drawn postcards (e - picture, tags - letter). Creating postcards with your own hands is generally a very popular activity in Japan, and before the holiday, its popularity is even more increasing. The Japanese love to send greeting cards to their friends, and get them too love. This is a kind of fast letter on special blanks, it can be sent by mail without envelope. There are no special rules or techniques in ETEGs, it can anyone without special training. Stages helps to accurately express my mood, impressions, this postcard made by your own hands consisting of a picture and a brief letter, transmitting the emotions of the sender, such as warmth, passion, care, love, etc. Gate these postcards for holidays and just like that, depicting seasons, actions, vegetables and fruits, people and animals. The easier this picture is drawn, the more interesting it looks like.

Furoshiki.
Japanese packaging equipment or fabric folding art. Furoshiki entered the life of the Japanese for a long time. The ancient scrolls of the periods of Kamakura-Muromati (1185-1573) are preserved (1185 - 1573) with images of women packed in clothing tissues. This interesting technique originated in 710 - 794 of our era in Japan. The word "Furoshiki" is literally translated as a "bath mat" and is a square piece of fabric that was used to wrap and carry objects of any shapes and sizes.
In the old days in Japanese baths (Furo), it was customary to walk in the lungs of cotton kimono, which visitors brought with them from home. The batcher also brought a special rug (chic) \u200b\u200bon which he stood while undressed. Changed in the "bath" kimono, the visitor wrapped his clothes with a rug, and after the bath wrapped in a wet kimono rug to bring him to the house. Thus, the bath rug turned into a multifunction bag.
Furoshiki is very convenient in application: the fabric takes the form of the object that you wrap, and the handles make it easy to transfer the cargo. In addition, a gift wrapped is not in rigid paper, but in a soft, multi-layer fabric, acquires particular expressiveness. There are many fooling schemes for any occasions, everyday or festive.

Kinusayiga.
Amazing view of needlework from Japan. Kinusayiga (Kinusaiga, ???) is something cross between a battle and patchwork sewage. The main idea is that from old silk kimonos in pieces they collect new paintings - true works of art.
First, the artist makes a sketch on paper. Then this drawing is transferred to a wooden apartment. The contour of the picture cuts into the grooves, or grooves, and then from the old silk kimono are cut small, suitable for color and tone of the patchwork, and the edges of these flaps are filled with grooves. When you look at such a picture, there is a feeling that you look at the photo, or even just watch the landscape outside the window, are so realistic.

Amigurumi.
Japanese knitting art of knitting or crocheted small soft animals and human-like creatures. Amigurumi (Yap. ????, letters: "knitted-cooked") - this is most often cute animals (such as bears, bunnies, cats, dogs, etc.), men, but it may be indefinite objects endowed with human properties. For example, cupcakes, hats, handbags and others. Amigurum knit or knitting or crochet. Recently, the amigurums associated with a crochet have become more popular and more often occur.
Knit from yarn in a simple knitting way - on the helix and, unlike the European method of knitting, circles are usually not connected. They also knit smaller crocheted relative to the thickness of the yarn to create a very dense fabric without any gaps through which the padding material can get out. Amigurums are often made from parts and then combine them, the exception is some amigurines that do not have limbs, but have only head and torso that make up one whole. The limbs are sometimes filled with plastic pieces to give them alive weight, while the rest is filled with fiber filler.
The spread of aesthetics amigurums contributes to their presence ("Cavayness").

Bonsai.
Bonsai, as a phenomenon, appeared more than a thousand years ago in China, but the peak of his development this culture reached only in Japan. (Bonsai - Yap. ?? letters. "Plant in a pot") - the art of growing an exact copy of the real tree in miniature. These plants were grown by Buddhist monks, in a few centuries BC and subsequently turned into one of the lessons of local nobility.
Bonsai decorated Japanese homes and gardens. In the era of Tokugawa, the park design received a new impetus: the cultivation of Azali and Clain became the pastry time of rich people. Dwarfsky crop production (hut-no-ki - "Tree in a pot") also developed, but bonsai of that time were very large.
Now for Bonsai uses conventional trees, small they become due to constant trimming and various other methods. At the same time, the ratio of the size of the root system, limited by the volume of the rig, and the ground part of the bonsai corresponds to the proportions of the adult tree in nature.

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Part 1 - Japanese types of needlework

The works of Japanese decorative and applied art traditionally include varnish, porcelain and ceramic products, wood carving, bones and metal, artistically decorated fabrics and clothes, works of weapons art, etc. The specifics of the works of decorative and applied art is as follows: they have As a rule, purely practical, utilitarian use, but at the same time they also play a purely aesthetic role, serving the daily life of a person. The aesthetics of the surrounding items for the Japanese was important not less than their practical purpose: admonish beauty. Moreover, for the traditional consciousness of the Japanese, a special attitude towards beauty is as one of the mysteries of the universe. Beauty for the Japanese is a phenomenon over the limits of our everyday world, which can be described in words and understand the reason. Modern Western culture The farther, the more trying to reduce human life to the framework of the rational, everyday world perception, where the laws of the so-called "common sense" are dominated. For the Japanese, despite their extreme practicality and pragmatism in the affairs of everyday, ordinary, the material world, of course, was perceived as an illusory and transient. And that behind his face is another, unveiled world, which is fundamentally not amenable to the standards of "common sense" and which cannot be described in words. Higher creatures live there, the mystery of life and death is connected with him, as well as many secrets of being, including the principles of beauty. That world is reflected in our, as a moon in a water stroit, speaks into the souls of people with a sharp and degrading feeling of beautiful and mysterious. Those who are not able to see and appreciate this thin and multifaceted meaning of the meaning and shades of beauty, the Japanese are considered hopeless, rude barbarians.

In order to establish itself in his relationship between the transcendent world, the Japanese (above all - the elite, aristocracy) attached great importance to ritual actions, and especially their aesthetic side. From here there are ceremonies to admire Sakura's color, almy maples, first snow, sunrises and sunsets, as well as poetic competitions, arrangement of colors (Iketubana), theatrical performances, etc. Even such simple everyday situations like tea or sacke, guests meeting or Entry into intimate proximity, the Japanese gave the meaning of mystical action. Life objects at the same time played the role of ritual attributes. The masters who created such items sought to give them an impeccable aesthetic appearance. For example, many bowls for a tea ceremony, at first glance, coarse and uneven, were valued unusually highly primarily for the fact that they carried the seal of "otherworldly" beauty, they seemed to have a whole universe.

This fully applies to many other works of decorative and applied arts: figures, Netzke, Boxes - Inro, Varnish, Elegant Areas (Kimono Short Sleeve) with exquisite and soared decor, shirms, fans, lanterns, and especially , traditional Japanese weapons. The practical embodiment of the traditional aesthetic principles in Japanese decorative and applied arts we consider on the example of Japanese artistic swords.

For any Japanese, the sword is the subject of almost religious worship, a mystically connected not only with the fate of the current owner, but also by the whole generations of the soldiers who have known them. Moreover, many swords are considered animated - they have their own soul, their will, their own character. From ancient times, the sword served as a symbol of power, a symbol of the samurai combat spirit and was associated with both syntos and Buddhist cults. The process of forging sword is equal to the religious sacrament, to a synthist mystery. A blacksmith-gunsmith, starting to the forging of a sword, performs strict ritual actions: keeps the post, performs cleansing ablutions, hesitates prayers to the gods, which invisibly help and send his work. In the created sword, the spirit of Kami is filmed, so the sword must be impeccable in all respects.

Indeed, Japanese traditional swords have special qualities, both fighting and aesthetic; Contempted and admire a good sword of experts may endlessly long, as a genuine work of art with many unique details. It is believed that the Japanese sword has "four types of beauty": 1) an elegant perfect form (there are many variants of the shape of the sword; as a rule, Japanese blades have one blade and elegant bend; however, there are double-edged blades and straight blades; 2) a special structure of steel formed during forging (for example, on some blades, a drawing is formed, resembling a layered structure of a crystal or wood, small or large "grains" appear on others, the illusion of transparency); 3) a special shining line (Hamon), which is formed along the blade as a result of the hardening of the blade (there are many varieties of Hamon - some resemble sharp mountain peaks, others - smoothly raging waves, third - bizarre clouds, etc.); 4) a thorough polishing that gives the blade specific radiance and shine. On some blades, the relief figures of the dragons, samurai coat of arms, separate hieroglyphs, etc. were also cut out. On the shanks of many blades, their creators cut out calligraphic inscriptions, sometimes inlaid precious metals.

A singing of a sword consisting of a rather large number of individual parts was also attached, many of which are independent works of art. The handle of the sword was cut out of the Magnolia tree, then she was covered with the skin of the skate or shark and washed with a silk or leather cord. Garda Sword (Tsuba) served as the main decoration of the handle. The zuba could be of different shape (round, oval, square, trapezoid, shape of the chrysanthemum flower, etc.), they were injured from iron, copper, bronze, many were decorated with silver, gold or specific Japanese alloys. Each Cube had its own unique decor (slit silhouettes, engraving, inlay, lining from various metals in the form of dragons, fish, all kinds of animals, people, gods, flowers, trees) and was, in fact, the work of jewelry art. Like a blades, many zubs were decorated with hieroglyphic signatures of creating their masters. In addition to the zeub, the handle had several more decorative elements, including small metal figures - Menuki, located under the cord. Mesuki, often decorated with silver and gold, could have the most bizarre forms: a dragon playing with the pearl; Moon in the clouds; man sleeping on a flower of Pavlonia; demon - Tengu; Sea cancer or insect. Menuki played the role of amulets, in addition, they did not give a sword to slip from the palm of the warrior. Much attention was paid to the aesthetics of the sheath. The sheaths were usually cut out of wood and covered with varnish - black, red, gold. Sometimes they were tightened with polished skate skin or metal plates; Sometimes - cut out of ivory or injured the mother of pearl, gold or silver notch, etc., and so on. The sheaths of many swords had special grooves for small knives - Cathan and Kogai (throwing studs), which also had their decor. On the sheaths could be attended by decorations similar to what they were on handles, thus creating a single style of decorative design of a sword - for example, a motive was spread with dragons or marine inhabitants. In addition, the screaming of many swords (especially Tati, wearing special pendants of the blade down, unlike Katana, which stood up the blade belt up) were decorated with luxurious silk cords with brushes and decorative nodes. On the color, form and decoration of the sheath, it was possible to judge the rank of samurai; In addition, in some cases, etiquette prescribed a special type of sheath: for example, the samurai funeral came with swords in simple black sheaths devoid of any decorations. Representatives of the highest aristocracy had swords in gilded sheaths, richly decorated with precious stones.

In Japan, there were many family schools of gunsmiths engaged in forging blades, their polishing, the manufacture of sheath and jewelry for the sword, the production of onions, arrows, quiver, armor and helmets. On the skill of many gunsmiths (such as Masamune, who lived at the end of the XIII-early XIV century) went legends, they were considered wizards who communicate with spirits, and their hands were attributed to the creations of their hands.

With deep antiquity, lacquer products are known in Japan, their residues are found in the archaeological monuments of the Dzemon era. In a hot and wet climate, lacquered coatings were protected by wooden, leather and even metal products from destruction. The lacquers in Japan found the widest application: dishes, homemade utensils, weapons, armor, etc. The lacquer products also served the decoration of interiors, especially in the homes for nobility. Traditional Japanese varnishes - red and black, as well as golden; By the end of the EDO period, the production of yellow, green, brown varnish began. By the beginning of the XX century. White, blue and purple lacquer was obtained. Varnish is applied on a wooden base with a very thick layer - up to 30-40 layers, then polished to the mirror glitter. There are many decorative techniques associated with the use of varnish: Maki-E - the use of gold and silver powder; Urusi-E - Laco Painting; Hymon - a combination; Lacin painting with gold, silver and pearl inlay. Japanese artistic lacquers are highly appreciated not only in Japan, but in the West, their production flourishes to this day.

Special addiction test Japanese to ceramic products. The earliest of them are known through archaeological excavations and belong to the Dzemon period. The development of Japanese ceramics and, later, the porcelain, Chinese and Korean technologies, in particular, roasting and colored glaze. A distinctive feature of Japanese ceramics - Master attention paid not only to the form, decorative ornament and the color of the product, but also the tactive sensations that it caused with contact with human palm. Unlike the Western Japanese approach to ceramics, the shape of the form, the surface roughness, sparing cracks, the flow of glaze, fingerprints of the master and demonstrating the natural texture of the material. Artistic Ceramic Products include, first of all, bowl ceremony bowls, kettles, vases, pots, decorative dishes, sake vessels, etc. Porcelain products are mainly thin-walled vases with refined decor, tea and wine sets and A variety of figurines. A significant part of the Japanese porcelain was specially manufactured for export to the West countries.

The content of the article

Japanese art.From ancient times, an active creative beginning was characteristic of Japanese art. Despite the dependence on China, where new artistic and aesthetic directions were constantly arose, Japanese artists always made new features and changed the art of their teachers, giving him a Japanese appearance.

The history of Japan as such begins to acquire certain forms only at the end of 5 V. Objects related to previous centuries (archaic period) have been discovered relatively small, although some finds made during excavations or during construction work, they talk about wonderful artistic talent.

Archaic period.

The oldest works of Japanese art are clay pots such as Jemon (cord impression). The name comes from the surface of the surface with spiral prints of the cord, wrapped around the sticks that the master used in the manufacture of the vessel. Perhaps, at the beginning of the master accidentally discovered the braid print, but then they began to apply consciously. Sometimes the cordless clay curls, creating a more complex decorative effect, almost relief were stuck to the surface. In the culture of Zemon, the first Japanese sculpture arose. Dog (letters "The clay image") of a person or an animal probably had some kind of religious meaning. Images of people, mostly women, are very similar to the clay goddesses of other primitive cultures.

Radio carbon analysis shows that some findings from the Zemon culture may relate to 6-5 thousand BC, however, such early dating is not generally accepted. Of course, such dishes were made for a long time, and although accurate dates should not be installed, there are three periods. The oldest samples have a pointed base and are almost unnamed, except for the traces of the gefle gun. The vessels of the middle period are richer ornamented, sometimes with garple elements that make the impression of the volume. The forms of the third period vessels are very diverse, but the decor is replaced again and becomes more restrained.

Approximately 2 V. BC. Ceramics Zemon gave way to the Keramics of Yayoi, characterized by the grace of forms, simplicity of drawing and high technical quality. The trekking of the vessel has become thinner, the ornament is less bizarre. This type prevailed to 3 V. AD

From an artistic point of view, it is possible that the best works of the early period are Haniva, clay cylinders, dating from 3-5 centuries. AD The characteristic monuments of this era are huge hills, or mounds, the funeral structures of emperors and a powerful nobility. Often very large, they are evidence of the power and wealth of the imperial family and courtiers. Building such a structure for Emperor Nintoku-Strange (approx. 395-427 AD) demanded 40 years. The most noteworthy feature of these Kurgans were surrounding them like the fence of clay cylinders, Haniva. Usually these cylinders were completely simple, but sometimes decorated with human figures, less often - figures of horses, houses or roosters. Their appointment was double: prevent the erosion of the tremendous masses of the Earth and supply the deceased that he needed what he enjoyed in earthly life. Naturally, cylinders were made immediately in large quantities. A variety of those expressions of people and gestures adorning their figures are largely the result of the improvisation of the master. Despite the fact that it is rather a product of artisans, not artists and sculptors, they are of great importance as a Japanese artistic form. Buildings, closed in the poppons of horses, prim ladies and warriors represent an interesting picture of the military life of early refortion of Japan. Perhaps the prototypes of these cylinders appeared in China, where various items were put straight into the burial, but the execution and method of using Haniva belong to the local tradition.

The archaic period is often viewed as time deprived of the works of high artistic level, the time of dominance of things possessing mainly archaeological and ethnological value. However, it should be remembered that the works of this early culture as a whole have great viability, since their forms survived and continued to exist as the specific national features of Japanese art in later periods.

Assuka period

(552-710 AD). The introduction of Buddhism in the middle of the 6th century. made significant changes to the lifestyle and thinking of the Japanese and became an impetus for the development of the art of this and subsequent periods. The arrival of Buddhism from China through Korea is traditionally dating 552 AD, however, it was probably known before. In the first years, Buddhism collided with a political opposition, with counteraction of the National Religion of Coto, but in just a few decades the new faith received official approval and finally approved. In the first years of penetration into Japan, Buddhism was a relatively simple religion with a small number of deities that needed images, but through any hundred years he gained strength, and Pantheon would grow extremely.

During this period, churches were based, which served not only to the goals of the propaganda of faith, but were centers of art and education. The monastery of the temple in Khoryuji is one of the most important for studying earlybuddy art. In addition to other treasures there is a statue of the Great Triad of Xiak-Neray (623 AD). This is the work of Tori Boussi, the first known Japanese sculptor known to us, is a stylized bronze image, similar to similar groups in large cave churches of China. In the Pose of Sitting Syaki (Japanese transcription of the word "Shakyamuni", the historical Buddha) and two figures standing on the sides are observed with a strict frontal. The forms of the human figure are hidden by heavy symmetrical folds of schematically transmitted clothes, and dreamy self-profit and contemplation are felt in smooth elongated persons. The sculpture of this first Buddhist period is based on style and prototypes with the mainland of the fifty-year-old limitation; It follows the Chinese tradition that came to Japan through Korea.

Some of the most important sculptural images of this time were made from bronze, but a tree was used. The two most famous wooden sculptures are the statues of the goddess Cannon: Yumadono Cannon and Kojara Cannon, both in Khoryuji. They represent a more attractive object to worship than the Syaks Triad, with their archaic smiles and dreamy expressions of individuals. Although the Channon figures include the folds of the clothes are also schematic and symmetrically symmetrically, they are easier and full of movement. High slender figures emphasize the spirituality of the persons, their abstract kindness, distant from all worldly worries, but sensitive to the plenty of lungs. The sculptor paid certain attention to the outlines of the figure of Kage Kannon, hidden folds of clothing, and unlike the gear silhouette of Yumedono movement and shapes, and the fabric is directed to the depth. In the profile of Karat, Cannon has elegant S-shaped outlines.

The only preserved sample of painting, giving an idea of \u200b\u200bthe style of the beginning of the 7th century, is the painting of Tamamoucy Dzusi, the "winged sanctuary". This miniature sanctuary was called from rainbow wings of beetles inserted into perforated metal edging; Later it was decorated with religious compositions and figures of individual characters made by colored varnish. Like the sculpture of this period, some images indicate great freedom of drawing.

Period of Nara

(710-784). In the 710 capital was transferred to Nara, a new city, built according to the sample of the Chinese capital Changan. There were wide streets, large palaces, numerous Buddhist temples. Not only Buddhism in all its aspects, but all Chinese cultural and political life was perceived as a role model. No other country may have not felt in such extent deficiency of his own culture and was not so susceptible to the effects from the outside. Scientists and pilgrims were fluently moved between Japan and the continent, and the management and palace life was based on the sample, which existed in China, the Tang Dynasty. However, it must be remembered that, despite the imitation of the samples of Tansky China, especially in art, perceiving his influence and style, the Japanese almost always adapted to other people's forms to their own.

In the sculpture, the strict frontal and symmetry of the preceding ASUCE period gave way to more free forms. The development of ideas about the gods, increased technical skills and freedom of ownership of material allowed artists to create closer and affordable religious images. The basis of the new Buddhist sect expanded the Pantheon in which even the saints and founders of Buddhism were included. In addition to the bronze sculpture, a large number of works from wood, clay and varnish are known. The stone was rare and almost never used for sculpture. The dry varnish was particularly popular, perhaps because with all the complexity of the process of preparing the composition of the work, it looked more spectacular than wooden and were stronger than the simpler in the manufacture of clay products. Varnish figures were formed on a wooden or clay basis, which was then removed, or on wooden or wire fittings; They were light and durable. Despite the fact that this technique dictated some stiffness poses, in the image of individuals allowed a lot of freedom, which partially contributed to the development of what could be called in portrait sculpture. The image of the Face of the Divine was performed in accordance with the strict orders of Buddhist canons, but the popularity and even deification of some founders and preachers of faith provided excellent opportunities for the transfer of portrait similarity. Such similarities can be traced in a sculpture of dry varnish worship in Japan Chinese Patriarch Gandzina, located in the Temondi Temondi. Gandzin was blind when he arrived in Japan in 753, and his unreasonable eyes and the enlightened state of internal contemplation were perfectly transmitted by an unknown sculptor. This realistic tendency was most clearly expressed in a wooden sculpture of a preacher, created by the sculptor of the Suga in 13-14 centuries. The preacher is dressed as a wandering beggar with a staff, gong and a beater, and little Buddha figurines come out of his half-open mouth. Not satisfied with the image of a singing monk, the sculptor made an attempt to express the innermost meaning of his words.

The pictures of the Buddha period of the Nar period are also distinguished. Created for the ever-increasing number of temples, they are not so calmly cold and restrained, as their predecessors, have more elegant beauty and nobility and addressed to those who worshiped people with greater favor.

Preserved very little pictorial works of this time. On a multicolor drawing on paper, the past and real life of the Buddha are depicted. This is one of the few ancient samples of Eamakomono, or painting on the scrolls. Scrolls slowly unwound on the right left, and the audience could enjoy only the site of the picture, which was between the unfolding scroll with his hands. The illustrations were right above the text, unlike later scrolls, where the text of the text alternated with an explanatory image. In these ancient preserved samples of sweat painting, the figures defined in the contour are located against the background of a barely planned landscape, and the central acting person, in this case, the Xiac appears in various episodes.

Early Hayan

(784-897). In 784, the capital was temporarily transferred to Nagaoka, partly to avoid the predominance of the Buddhist clergy of Nara. In 794 she moved to Heian (now Kyoto), for a longer period. End of 8 and 9 centners. There were a period when Japan successfully assimilated, adapting to its peculiarities, many foreign innovations. Buddhist religion also experienced a change time, the emergence of new sects of esoteric Buddhism, with its developed ritual and etiquette. Of these, the sects of Teny and Singon, who originated in India, were most influenced by the greatest influence, reached China and from there were brought to Japan with two scientists who returned to their homeland after a long student. Singon sects ("True Words") especially liked the court and quickly took a dominant position. Her main monasteries were located on Koya Mount near Kyoto; Like other important Buddhist centers, they became the repository of huge collections of art monuments.

Sculpture 9 in. It was mostly wooden. The images of the deities were distinguished by the severity and inaccessible magnitude, which was emphasized by the solemnity of their appearance and massiveness. Drapets skillfully cut across standard samples, the waves lay scarves. Standing Figure of Syaki from the temple in Murodji is an example of this style. For this and similar images of the 9th in. Characterized tough carving with deeper clear folds and other details.

An increase in the number of gods created great difficulties for artists. In difficult, similar to mandala maps (geometric pattern with a magical value) of the deity in accordance with the hierarchy, were located around the Buddha placed in the center, which was only one of the manifestations of the Absolute. At this time, a new manner of images surrounded by the flame of the figures of the deity-guardians, terrible, but benefactor in nature. These deities were embedded asymmetrically and were depicted in moving poses, with formidable features of persons fiercely protecting faith from possible dangers.

Middle and late Heian, or the period of Fujiwara

(898-1185). Transferring the capital to Heian, who had a goal to evade the difficult demands of the clergy, caused change and in the political system. To know was the dominant force, and the most characteristic representatives of Fujiwara family became the most characteristic representatives. Period of 10-12 centuries. Often associated with this name. The period of special authorities began when the real emperors "strongly advised" to leave aside the state of the sake of more enjoyable occupations of poetry and painting. Up to reaching the age of majority, the emperor was led by a strict regent - usually from Fujiwara family. It was a century of luxury and remarkable achievements in literature, calligraphy and art; In all, tomostivity and emotionality felt, which rarely reached depth, but in general was charming. Elegant refinement and flight from reality affected the art of this time. Even Buddhism adherents were looking for lighter ways, and the worship of the Heavenly Buddha was especially popular, Amida. The ideas about the compassion and the saving grace of Buddha Amida deeply reflected in painting and sculpture of this period. The massiveness and restraint of the statues 9 V. in 10-11 centuries. Gave way to the Nege and Charm. The deities are depicted by dreaming, thoughtfully calm, the carving becomes less deep, the surface is more colorful, with a richly developed texture. The most important monuments of this period belong to the sculptor Zeto.

The works of artists also acquired softer features, reminding drawings on the fabric, and even terrible deities - defenders of faith became less frightened. Sutras (Buddhist texts) wrote gold and silver on a deep blue tone paper, beautiful text calligraphy often preceded a small illustration. The most popular directions of Buddhism and the associated deities reflect the preferences of the aristocracy and the gradual departure from the harsh ideals of the early Buddhism.

The atmosphere of this time and its works are partly connected with the cessation of formal relations with China in 894. Buddhism in China at that time was persecuted, and the corrupt Tang's yard was in a state of decline. A closed island existence that followed this cessation prompted the Japanese to turn to their own culture and develop a new, cleaner Japanese style. Indeed, secular painting 10-12 centuries. It was almost completely Japanese - both in the art and in compositions and plots. A distinctive feature of these Japanese scrolls called Yamato-er was the predominance of the plots of the ENGI (origin, history). While on Chinese scrolls, the immense amazing nature, panoramas of mountains, streams, rocks and trees, and people were relatively insignificant, on the narrative scrolls of the Japanese in the figure and text the main thing was a man. The landscape played only the role of the background for the story of the story, subordinate to the main acting person or persons. Many scrolls were drawn chronicles of the life of famous Buddhist preachers or historical figures, their travels and military campaigns. Others talked about romantic episodes from the life of nobility and courtiers.

Obviously a peculiar style of early scrolls took place from simple sketches of ink on the pages of Buddhist notebooks. These are skillful drawings, caricaturely transmitting human behavior through animal images: a monkey in monastic clothes, worshiped by a frog, contest between hares, monkeys and frogs. These and other Late Hayan scrolls served as the basis for more complex narrative scrolls of the developed style of 13-14 centuries.

Period of Kamakura.

(1185-1392). End 12 V. I brought serious changes in the political and religious life of Japan and, of course, in her art. The elegance and aestheticism of the Kyoto yard changed or, in the tradition of the "special" rule, "received an add-on" in the form of a new, harsh and courageous board - Sögunat Kamakura. Although the capital nominally remained Kyoto, Sögun Minamoto-But Yorito (1147-1199) established his headquarters in the city of Kamakura and in just 25 years old has established a rigid system of military dictatorship and feudalism. Buddhism, which has become so complicated and ritualized, which was unlikely for ordinary laity, also undergone major changes, by no means promising arts. Sect iodo ("Pure Land"), a type of reverence of the Buddha Amida, under the leadership of Honan Sönina (1133-1212) reformed the Hierarchy of Buddha and Deities and gave hope for salvation to everyone who just believed in Amida. This doctrine easily achievable Paradise later was simplified by another monk, Synorn (1173-1262), the founder of the X Sin sect, recognizing that the condescension of Amida is so great that there is no need to commit religious acts, it is enough to repeat the spell "IMIDE BUTS" (first word Means "obey"; the second two - "Buddha Amida"). Such a simple way to save the soul was extremely attractive, and now they enjoy millions. The generation later the militant preacher Nitiren (1222-1282), whose name is called the sect, refused this simplified form of religion. His followers were read by Lotus Sutra, which did not promise instant and unconditional salvation. In the sermons, he often concerned political topics, and his beliefs and the proposed reforms of the Church and the state had to do with the new Military class in Kamakur. Finally, the Zen philosophy, which arose in the 8th century, began to play an increasing role in the Buddhist thought of this period. Zen emphasized the importance of meditation and contempt for any images that could prevent a person in his desire to connect with God.

So, it was the time when religious idea limited the number of works of painting and sculptures, previously necessary for the cult. Nevertheless, in the period of the Kamakura, some of the most beautiful works of Japanese art were created. The incentive served the love of art inherent in the Japanese, but the key to a randering is in relation to the people to new creeds, and not in dogmas as such. Indeed, the works themselves suggest the cause of their creation, because many of these full lives and energy of sculptures and picturesque works are portraits. Although Zen's philosophy could consider the usual objects of religious cult in the obstacle on the way to enlightenment, the tradition of reverence of teachers was quite acceptable. The portrait of himself could not be the subject of worship. This attitude towards a portrait was characteristic not only by Zen-Buddhism: many ministers of the sects of clean earth were revered almost as Buddhist deities. Thanks to the portrait, even a new architectural form - Miado, or portrait chapel appeared. The rapid development of realism was completely in the spirit of time.

Despite the fact that the picturesque portraits of priests, obviously, were really images of specific people, they often represented paintings with the image of the Chinese founders of Buddhism. They were painted preaching, mouths are open, hands are gesticulating; Sometimes depicted beggar monks who make a difficult way to fame faith.

One of the most popular plots was Rigo (desirable arrival), where the Buddha Amida was depicted with his companions, descending on the cloud to save the soul of the believer on her deathbed and transfer her to heaven. Paints such images were often strengthened with overhead gold, and wavy lines, fluttering capes, whining clouds gave a feeling of motion to the framework of the Buddha.

Unsay, who worked in the second half of the 12th and early 13th century, was the author of the innovation, which facilitated the carving of the tree, remaining during the Camacaur of the favorite material of sculptors. Previously, the master was limited to the size and shape of a deck or log, from which the figure was cut. The hands and elements of the clothes were imposed separately, but the completed work often resembled the original cylindrical shape. In the new technique, dozens of small pieces were carefully customized to each other, forming a hollow pyramid, from which the substrursions could then cut out the figure. The sculptor was at his disposal more supportive material and the ability to create more complex forms. Muscular temple guards and deities in fluttering capes and clothes seemed more alive even because they began to insert a crystal or glass into their eyelabies; Statues began to decorate gold-plated bronze. They became easier and less frequently cracking as a tree drying. Mentioned Wooden Statue of Cyunina, the work of Kosia, the Son of the UNKEI, demonstrates the highest achievement of the realism of the Kamakura era in a portrait sculpture. Indeed, the sculpture at that time reached apogee in his development, and later she no longer occupied such a prominent place in art.

Space painting also reflected the spirit of time. The narrative scrolls of the Latehaian period in the restrained coloric colors and elegant lines were told about the romantic escapades of Prince Genji or the entertainment of the leading recovery lifestyle of the court ladies. Now bright colors and energetic stars, artists of the Kamakura era portrayed the battles of the warring clans, covered by the flame of the palaces and frightened people running from the attacking troops. Even when a religious story was unfolded on the scroll, the image was not so much an icon as a historical testimony of the journey of holy people and the wonders created by them. In the design of these plots, you can find growing love of nature and admiration for native landscapes.

Muromati, or the period of asicag

(1392-1568). In 1392, after more than 50 years of discord, the third sogun of the Asicag family, Josimens (1358-1408), reiterated the country. The location of the government again became the nominal capital of Kyoto, where Asikag's signes in the Quarter of Muromati built their palaces. (This period is called Muromati, then Asikag.) War time did not spare many temples - the repositories of Japanese art, which were burned together with the treasures there. The country was brutally ruined, and even the world did not bring much relief, since the warrant clans, achieving success, distributed mercy on their whim. It would seem that the situation was extremely unfavorable for the development of art, but in reality Asicag's Sigun patronized him, especially in 15-16 centuries, when painting flourished.

The most significant phenomena of the art of this time was monochrome poetic images of a car, encouraged by Zen-Buddhism and were influenced by Chinese samples of Sun and Yuan dynasties. During the Ming Dynasty (1368-1644), contacts, and the score, collector and patron of art were resumed with China, encouraged collecting and studying Chinese painting. She became a sample and starting point for gifted artists, which landscapes, birds, flowers, images of priests and wise men painted with light and brush brush brush. Japanese painting of this time is characterized by economy of the line; The artist seems to extract the quintessence of the picture depicted, providing a viewer's eyes to fill it with detail. The transitions of the gray and brilliant black carcass in these paintings are very close to the Zen philosophy, which, of course, inspired their authors. Although this creed has reached a significant influence in the Kamakura military authorities, it continued to quickly spread in 15-16 centners., When numerous Zen monasteries arose. Preaching basically the idea of \u200b\u200b"self -pass", it did not associate salvation with the Buddha, but more relied on the harsh self-discipline of a person to achieve sudden intuitive "enlightenment", uniting him with the Absolute. Economical, but bold use of carcasses and an asymmetrical composition in which unpainted pieces of paper played a significant role in images of idealized landscapes, wise men and scientists, corresponded to this philosophy.

One of the most famous representatives of the direction of Sumi-E, the style of monochrome painting in mascara, was Sassu (1420-1506), the Zen priest, whose long and fruitful life provided him with long reverence. At the end of the life, he began to apply Haboku Maneru (fast carcass), which, in contrast to mature style, demanding clear, economy smears, brought the tradition of monochrome painting to almost abstraction.

For the same period, the activities of the family of Kano artists and the development of their style. For the choice of plots and the use of carcasses, he was close to Chinese, but remained Japanese for expressive funds. Kano, with the support of Sögunat, became a "official" school or artistic style of painting and flourished in 19 V.

The naive tradition of Yamato-E continued to live in the works of the Tosa School, the second important direction of Japanese painting. In fact, at this time, both schools, Kano and Tos, were closely connected, they were united in interest in modern life. Motonobu Kano (1476-1559), one of the outstanding artists of this period, not only issued his daughter for the famous artist of Tosa, but also wrote in his manner.

In 15-16 centuries. There was only a few decent attention of the works of sculpture. It should be noted, however, that the development of the drama of NOO, with its diversity of moods and emotions, opened a new field of activity before sculptors - they cut out masks for actors. In the classic Japanese drama that performed aristocracy and for aristocracy, the actors (one or more) wore masks. They transferred the gamut of feelings from fear, anxiety and confusion to restrained joy. Some masks were so superbly cut out that the slightest turn of the actor's head caused subtle changes to the expression of feelings. Wonderful samples of these masks were kept for years in families, for members of which they were made.

Momoyama period

(1568-1615). In 1593, the great military dictator Hideyashi built his castle on Momme, the "peach hill", and this name was made to determine the period at 47 years from the fall of Sögunate Asicag before approving Tokugawa, or the Edo period, in 1615. It was the time of dominance of a completely new military class. Which great wealth contributed to the prosperity of art. Impressive locks with extensive audience halls and long corridors were included in the end of 16 century. And they demanded decorations corresponding to their grandeur. It was the time of harsh and courageous people, and new patrons, unlike the former aristocracy, were not particularly interested in intellectual searches or intricacies of skill. Fortunately, the new generation of artists quite consistent with their patrons. During this period, wonderful screening and moving panels of bright raspberry, emerald, green, purple and blue colors appeared. Such brown colors and decorative forms, often on a gold or silver background, were very popular for a hundred years, and their creators were very fairly called "great decorators". Thanks to the subtle Japanese taste, the magnificent style does not convert into vulgarity, and even when the restraint and inexpensiveness gave way to luxury and decorative excesses, the Japanese managed to keep elegance.

Akeleton Kano (1543-1590), one of the first great artists of this period, worked in the style of Kano and Tos, expanding the ideas about the figure of the first and combining them with the richness of the colors of the second. Although only a few works have been preserved, the author of which can with confidence to name the Eytoka, it is considered one of the founders of the Momme-style, and most of the artists of this period were his disciples or were under his influence.

Edo, or Tokugawa

(1615-1867). The long period of the world, which comes to Joint Japan again, is called or Tokugawa time, according to the ruler's name, or Edo (modern Tokyo), because in 1603 this city has become a new government center. Two famous General of the Momoyam's short period, Oda Nobunaga (1534-1582) and Toyotoma Hideyashi (1536-1598), with the help of hostilities and diplomacy managed to finally reconcile powerful clans and militant clergy. With the death of Hideyashi in 1598, the authorities moved to IEYASU Tokugawa (1542-1616), which completed the events started jointly. The decisive battle at Schigaghara in 1600 strengthened IEYAS's position, the fall of the Oska castle in 1615 was accompanied by the final collapse of the house of Hideyashi and the establishment of the undivided dominion of Syogunat Tokugawa.

The peaceful reign of Tokugawa lasted 15 generations and ended only at 19 V. It was mostly the policies of the "closed doors". Decree 1640 foreigners was prohibited access to Japan, and the Japanese could not leave abroad. The only commercial and cultural connection was with the Dutch and the Chinese through the port of Nagasaki. As with other periods of isolation, the rise of national feelings and occurrence at the end of the 17th century was observed. The so-called school of genre painting and engraving.

The rapidly growing capital of Edo became the center of not only the political and business life of the island empire, but also the center of the arts and crafts. The requirement to dive, provincial feudal, for a certain part of each year was in the capital, gave rise to the need for new, including the palace structures, and therefore in artists for their decoration. At the same time, the class of rich, but not belonging to the aristocracy of merchants provided new and often unprofessional patronage to artists.

The art of the early period of EDO partly continues and develops the style of Momanom, strengthens the trends in luxury and magnificence. The wealth of bizarre images and polychromia continues to develop. This decorative style has reached the highest flourishing in the last quarter of the 17th century. in the so-called Era Grekua Tokugawa period (1688-1703). In Japanese decorative art, it does not have parallels on the extravagance and wealth of color and decorative motifs in painting, tissues, varnish, in artistic trifles - attributes of a luxurious lifestyle.

Since we are talking about a relatively late history period, it is not surprising that the names of many artists and their works are preserved; It is possible to call only a few most outstanding. Among the representatives of the decorative school who lived and worked during the periods of Momme and Edo, Honnov Koecea (1558-1637) and Nonomura Sotatsu (mind 1643). Their work demonstrate a wonderful feeling of drawing, composition and colors. Coecean, talented ceramist and artist of lacquer products, was known for the beauty of his calligraphy. Together with the Sotatz, they created the poems trendy at the time on the scrolls. In this combination of literature, calligraphy and painting images were not simple illustrations: they created or assumed the mood corresponding to the perception of the text. Ogata Corin (1658-1716) was one of the heirs of decorative style and, together with his younger brother, Augusta Kandzan (1663-1743) brought his technique to perfection. Kandzan, better known as a ceramist than as an artist, fought the vessels with the drawings of his famous older brother inflicted on them. The revival of this school at the beginning of the 19th century. The poet and the artist Sakai Hoita (1761-1828) was the last splash of decorative style. Beautiful scrolls and Shirma Horitz combined the feeling of a Corina drawing with interest in nature inherent in the Naturalism of the Maruyam's school, which was expressed in the richness of color and decorative motifs inherent in an earlier period, which was contained by the magnificence and the grace of the smear.

Together with a polychrome decorative style, a traditional drawing of School Kano continued to remain popular. In 1622 Kano Tanuyu (1602-1674) was appointed court artist Sögun and was summoned to Edo. With his appointment to this position and the creation of a School of Painting Kano in Edo, in Kobikito, the half-old period of the artistic leadership of this tradition came, who returned the Kano family outstanding position and made the works of the Edo period most significant in Painting Kano. Despite the popularity of painted with gold and bright colors, created by "great decorators" and rivals, dancing thanks to the power of his talent and the official position was able to make the painting of the revived school Kano. To the traditional features of School Kano, Danguy added power and simplicity based on a rigid intermittent line and thoughtful arrangement of the composition of the composition on a large free surface.

A new direction in which the main feature was interest in nature, it became to prevail at the end of the 18th century. Maruyama Okoy (1733-1795), head of a new school, was a peasant, then became a clergyman and finally the artist. The first two classes did not bring him any happiness, nor success, but as an artist he reached great heights and is considered the founder of the realistic school Maruyama. He studied at the Master of School Kano Isis Yutei (Ok. 1785); On the basis of the imported Dutch engravings, he has comprehended the Western technique of a promising image, and sometimes simply copied these engravings. He also studied the Chinese styles of the Sun and Yuan dynasties, including the delicate and realistic style of Chen Suang (1235-1290) and Shen Nanpina; The last lived in Nagasaki at the beginning of the 18th century. Okoy made a lot of work from nature, and his scientific observations served as the basis for the perception of nature, which was based on the Maruyama School.

In addition to interest in Naturalism in the 18th century. The influence of the Chinese artistic tradition resumed. Representatives of this area for the picturesque school of artists-scientists of the epochs of Min (1368-1644) and Qing (1644-1912), although they are likely that their ideas about the current state of art in China were limited. The art of this Japanese school was called Budzing (the art of educated people). One of the most influential masters worked in Budzing, was Ikano Taiga (1723-1776), a well-known artist and a calligrapher. For its mature style, thick contour lines are characterized, filled with light filament strokes of light tones and carcasses; He wrote and wide, free stalls of the black carcass, depicting the bamboo trunks in the wind and rain. With short curved lines, he reached the effect resembling engravings, in the image of foggy mountains over the lake surrounded by forest.

17th century I gave rise to another remarkable direction of art of the Edo period. This is the so-called Ukyo-E (the pictures of the changing world) are genre scenes created by the simple people and for him. Early Ukiyo-E appeared in the old capital Kyoto and were mainly picturesque. But the center of their manufacturing will soon moved to Edo, and the attention of the masters focused on the engraving on the tree. The close connection of engraving on a tree with Ukiyo-E led to the wrong idea that the wood engraving was the discovery of this period; In fact, it originated in the 11th century. Such early images were vigorous, they were depicted by the founders of Buddhism and the Divine, and during the period of the Kamakura, some narrative scrolls were reproduced from carved blocks. However, the art of engravings became particularly popular in the period from mid-17 and up to 19 V.

The objects of the image engraving Ukyu-E were beautiful curtains of merry quarters, favorite actors and scenes from the dram. Early, so-called. Primitive engravings were performed in black, with strong rhythmic wavy lines, and differed in a simple pattern. They were sometimes painted by hand in orange-red, called Tan-E (bright red paintings), with yellow-mustard and green marks. Some of the "primitive" artists used a manual painting, called the urison-e (lacquer painting), in which the dark areas were intensified and became more brighter due to the addition of glue. The early multicolor engraving, which appeared in 1741 or 1742, was called Banjdzuri-E (raspberry engraving) and usually used three colors - pink-red, green and sometimes yellow. A truly multicolor engravings who used the entire palette and called Nisiki-e (brocade images) appeared in 1765.

In addition to creating individual implications, many of the engravers illustrated books and earned the manufacture of erotic illustrations in books and on scrolls. It should be borne in mind that the Wucki-E engraving was made of three types of activities: it was a work of the draftsman, whose name was peeling, a sharp and a printer.

The people of the tradition of creating the creation of Engraving Ukyo-E is considered to be Hisikawa Moronobu (approx. 1625-1694). Other "primitive" artists of this area - Kiyomasu (1694-1716) and the Kagenezudo group (the strange Commonwealth of artists, the time of existence of which remains unclear), as well as Okumura Masanobu (1686-1764).

Artists of the transition period created by Engraving Banjdzuri-E were Isicawa Tyonobu (1711-1785), Torii Kihihiro (worked approx. 1751-1760) and Torii Kiyrimets (1735-1785).

The works of Suzuki Harunobu (1725-1770) open the era of polychromic engravings. Extracted with soft, almost neutral paints, populated by elegant ladies and gallant lovers, Harunobu engravings were a great success. At about the same time, Katsukawa Syunso was worked with him (1726-1792), Torii Kienaha (1752-1815) and Kitagawa Utamaro (1753-1806). Each of them contributed to the development of this genre; The masters brought engraving with the image of elegant beauties and famous actors to perfection. For several months in 1794-1795, the mysterious Tosusai Sarak created amazingly strong and frankly cruel portraits of actors of those days.

In the first decades of the 19th century. This genre reached maturity and began to tear down to decline. Katsusik Hokusai (1760-1849) and Ando Hiroshie (1797-1858) - the greatest masters of the epoch, whose creativity connects the Sunset of Art of Engravings 19 V. And his new revival at the beginning of the 20th century. Both were primarily landscape players who were fixed in their engravings the events of modern life. The brilliant possession of the technique of cutters and printers made it possible to transfer the whimsage lines and the slightest shades of the setting sun or rising on the dawn of the fog in the engraving.

Restoration of Maidzi and the modern period.

It often happens that the ancient art of one or another people is poor names, dates and preserved works, so any judgments can be taken only with great caution and conventions. However, it is no less difficult to judge contemporary art, since we are deprived of a historical perspective in order to correctly assess the scale of any direction or artist and its creativity. The study of Japanese art does not represent exceptions, and at most what can be done is to present the panorama of contemporary art and make some conditional preliminary conclusions.

In the second half of the 19th century. Japanese ports were reappeared again, serious changes occurred on the political scene. In 1868, Sögunat was abolished and the Board of Emperor Maidzi was restored. The official capital and residence of the emperor were transferred to Edo, and the city itself became known as Tokyo (the Eastern Capital).

As it happened in the past, the end of national isolation caused a great interest in the achievements of other nations. At this time, the Japanese performed a huge leap in the sphere of science and technology. For artistic, the beginning of the Maidzi era (1868-1912) demonstrates the acceptance of all Western, including the technique. However, this zeal continued not long, and he followed the assimilation period, the emergence of new forms that combine returning to their own traditions and new Western trends.

Among the artists acquired the fame of Kano Hogai (1828-1888), Simomara Kandsan (1873-1916), Taketi Sayo (1864-1924) and Tomica Tassay (1836-1942). The first three adhered to traditional Japanese style and plots, although they sought to show originality in mood and technology. Sayo, for example, worked in a calm and conservative atmosphere of Kyoto. His early works are created in the naturalistic manner of Maruyam, but later he traveled a lot in China and experienced a deep influence of Chinese painting ink. His visits on museums and leading art centers of Europe also left a trace in his work. Of all the outstanding artists of this time, only one Tomica Tassay closedly approached the development of a new style. In its energetic and complete forces of works, coarse curved uneven lines and stains of the black carcass are combined with finely discharged colors. In later years, some young artists who worked with oil achieved success where their grandfathers failed. The first attempts to work with this unusual material were reminded by Paris canvases and did not differ in any particular value or specifically Japanese devils. However, the work of exceptional attractiveness is currently being created in which the characteristic Japanese feeling of color and equiliblation is shifted through abstract topics. Other artists, working with a more natural and traditional carcass and sometimes using calligraphy as the original motive, create energetic abstract works in shiny black tones with shades of gray.

As with the EDO period, in 19-20 centuries. Sculpture was not popular. But in this area, representatives of the modern generation, who studied in America and Europe, experimented very successfully. Small bronze sculptures, abstract in shape and with strange names, demonstrate the sense of line and color peculiar to the Japanese, which is manifested in using a soft green or warm brown patina; Wood carving indicates the love of the Japanese to the texture of the material.

Khanga Sosaka, Japanese "Creative Printing", appeared only in the first decade of the 20th century, but as a special direction of art, she eclipsed all other areas of contemporary art. This modern engraving, strictly speaking, is not the succession of the older engraving in the Tree-e tree; They differ in style, plots and ways to create. Artists, many of which were under the strong influence of Western painting, realized the importance of their own artistic heritage and found suitable material in the tree to express their creative ideals. The Hang Masters not only draw, but also cut out images on wooden blocks and print them themselves. Although in this form of art, the highest achievements are associated with the works on the tree, all modern Western techniques of engraving are applied. Experiments with leaves, twine and "found objects" in some cases allow you to create unique effects of surface textures. Initially, the masters of this direction were forced to seek recognition: even the best achievements of the school Ukiyo-E artists-intellectuals were associated with an illiterate crowd and considered Plabeian art. Artists like Onti Kosiro, Chiratsuk Uniti and Maekawa Sampan, made a lot to return respect for the engraving and approve this direction as a decent branch of fine arts. They attracted many young artists into their group, and the engravers are now calculated by hundreds. Among the masters of this generation, which have achieved recognition in Japan and in the West, - Adhesia Uptaro, Munakata Syo, Yamaguchi Gen and Saito Kiyashi. This is a master whose innovation and indisputable talent allowed them to take a worthy position among the leading artists of Japan. Many of their peers and other, younger artists of Hanga, also created wonderful engravings; The fact that we do not mention their names here does not mean a low assessment of their creativity.

Decorative and applied art, architecture and gardens

In the previous sections, it was predominantly about painting and sculpture, which in most countries are considered the main species of fine art. It may be unfair to the end of the article decorative art and folk crafts, the art of gardens and architecture - forms that constituted an important and integral part of Japanese art. However, perhaps, with the exception of architecture, they require special consideration out of connection with the total periodization of Japanese art and with change of style.

Ceramics and porcelain.

The most important types of decorative and applied art in Japan include ceramics and china. Ceramic art is naturally divided into two categories. Beautiful polychry china Imari, Nabassima and Kakiemon got the name from production places, and its rich painting on a cream or bluish-white surface was intended for nobility and court circles. The process of manufacturing this porcelain became known in Japan in late 16 or early 17 B.; Plates and bowls with smooth icing, with asymmetric or resembling Patch pattern, are appreciated both in their homeland and in the West.

Unlike the porcelain in the coarse dishes made of clay or the stone mass of low quality, characteristic of Sino, Oribe and Bijsen, attention is focused on the material, it would seem a careless, but well-thought-out arrangement of decorative elements. Created under the influence of the concepts of Zen-Buddhism, such vessels were very popular in intellectual circles and were widely used, especially in tea ceremonies. In many cups, teapots and teapots, the attributes of the art of a tea ceremony, the very essence of Zen-Buddhism was embodied: rigid self-discipline and strict simplicity. During the heyday of Japanese decorative art, the talented artists of Corin and Kandzan were engaged in decor of ceramic products. It should be remembered that the glory of Kandzan is connected more than its talent of the ceramist, not a painter. Some of the simplest types and techniques for the manufacture of vessels occur from the traditions of the folk craft. Modern workshops, continuing the old traditions, make wonderful products admiring their elegant simplicity.

Varnished products.

Already in 7-8 centuries. Varnish was known in Japan. From this time, the casket covers are preserved, decorated with images of people and geometric motifs deposited by thin gold lines. We have already talked about the importance of dry varnish technology for sculpture of 8-9 centners; At the same time, decorative objects such as caskets for letters or boxes for incense were made later. During the EDO period, these products were manufactured in large quantities and with the most lush decor. Luxuriously decorated boxes for breakfasts, for cakes, for incense and drugs, called Inro, reflected wealth and love for luxury inherent in this time. The surface of the objects was decorated with patterns of gold and silver powder, slices of gold foil, separately or in combination with inlaid sinks, pearl, and tin alloy, etc.; These patterns contrasted with a lacquered red, black or brown surface. Sometimes paintings for varnishes did artists, such as Corin and Co., but they hardly personally participated in these works.

Swords.

The Japanese, as already mentioned, during the considerable period of their history were the people of warriors; Weapons and armor were considered to be essentials for a large part of the population. The sword was the pride of a man; Both the blade itself and all other parts of the sword, especially the handle (CUB), were decorated in various techniques. Zuba from iron or bronze was decorated with inlays of gold and silver, covered with carvings or finished and the other. They were portrayed landscapes or figures of people, flowers or family coat of arms (MON). All this complemented the work of the manufacturers of swords.

Fabrics.

Rich patterned silk and other fabrics, a yard and abundance, beloved by the courtyard and clergy, as well as simple fabrics with an almost primitive pattern, characteristic of folk art, are also an expression of the National Japanese talent. Having reached the highest flourishing into a rich era of the genre, the art of textiles bloomed in modern Japan. In it, ideas and artificial fibers from west are successfully combined with traditional colors and decorative motifs.

Gardens.

In recent decades, interest in Japanese gardens and architecture increased due to the wider acquaintance of the Western public with these art forms. Gardens in Japan occupy a special place; They are an expression and symbol of high religious and philosophical truths, and these unclear, symbolic overtones, combined with the obvious beauty of the gardens, cause the interest of the Western world. It cannot be said that religious or philosophical ideas were the main reason for the creation of the gardens, but when planning and creating the garden, the planner, the planner pondered such elements, the contemplation of which will lead the viewer to think about various philosophical truths. Here, the contemplative aspect of Zen-Buddhism is embodied in the group of unusual stones, the waves of aligned sand and gravel, combined with the turf, or plants located in such a way that the streams behind them disappears, it appears again, - all this encourages the viewer to independently completing the construction Garden ideas. Preference for an unclear hint in front of an intelligible explanation is characteristic of the Zen philosophy. The continuation of these ideas has become popular now in the west dwarf trees Bonsai and tiny gardens in pots.

Architecture.

The main architectural monuments of Japan are temples, monastic complexes, feudal castles and palaces. From a long time to this day, the tree is the main building material and largely determines the structural features. The oldest religious buildings are the sanctuary of the National Japanese religion of Coto; Judging by the texts and drawings, they were relatively simple buildings with a straw roof, like ancient dwellings. Temple buildings, built after the spread of Buddhism and related to it, in style and layout were based on Chinese prototypes. Buddhist temple architecture varied depending on time, and the decor and the location of the buildings were different in different sects. Japanese structures are distinguished by extensive halls with high roofs and a complex system of consoles, and their decor reflected the taste of their time. The simple and majestic architecture of the Khoryuji complex, built near Nar at the beginning of the 7th century, is just as characteristic for the ASUK period, as the beauty and elegance of the proportions of the Hoodo, the "Hall of Phoenix" in the UDI, reflected in the Lotus Lake, for the Hayan era. More complex buildings of the Edo period acquired additional decorations in the form of richly colored sliding doors and shirms made by the same "great decorators", which adorned the interiors surrounded by the Rips of the castles and the palaces of the feudal.

Japan's architecture and gardens are associated so closely that they can be considered part of each other. This is especially true for buildings and garden houses for a tea ceremony. Their openness, simplicity and carefully thought-out communication with the landscape and the prospect of have a great influence on the modern architecture of the West.

Influence of Japanese art to the West

During the whole century, the art of Japan became known in the West and had a significant impact on him. There were also earlier contacts (for example, the Dutch led trading with Japan through the port of Nagasaki), but items that have reached Europe at the 17th century were mainly the works of applied art - porcelain and varnished products. They were eagerly collectible as wondermen and copied in various ways, but these items of decorative exports did not reflect the essence and quality of Japanese art and even gave rise to the Japanese an unfounded idea of \u200b\u200bWestern taste.

For the first time, Western painting experienced the direct impact of Japanese art in Europe in 1862 during a huge international exhibition in London. Presented at the Paris exhibition five years later, Japanese engravings on the tree again opened great interest. Immediately several private collections of engraving appeared. Degas, Mana, Monet, Gaugugen, Van Gogh and others perceived Japanese colored engravings as a revelation; Often there is a light, but always recognizable the influence of Japanese engravings on impressionists. Americans Whistler and Mary Cassat attracted the restraint of the line and bright color spots engravings and painting Ukiyo-E.

The opening of Japan for foreigners in 1868 gave rise to the passion for all Western things in a row and forced the Japanese to turn away from their own rich culture and artistic heritage. At this time, many beautiful picturesque works and sculptures were sold and found themselves in Western museums and private collections. Exhibitions of these objects introduced the West with Japan and stimulated interest in traveling to the Far East. Of course, Japan's occupation by American troops at the end of World War II opened broader than before, opportunities for acquaintance and a deeper study of Japanese temples and their treasures. This interest was reflected in the attendance of American museums. Interest in East at all caused the organization of exhibitions of works of Japanese art selected from Japanese public and private collections and brought to America and Europe.

Scientific studies of the last decades made a lot to refute the opinion that Japanese art is only a reflection of Chinese, and numerous Japanese publications in English introduced the West with the ideals of the East.



The decorative and applied art of Japan in the field of metal artwork included temple sculpture and utensils, weapons and decorative items used in everyday life, diversity and perfection of the processing of traditional metals (bronze, iron, copper, steel) were combined with the use of complex alloys that differed by the richness of color Shades and plastic properties. There were Syakudo common among them, which gave various shades of black, brown, blue and purple flowers, and Sibuity, which served as an almost inexhaustible source of gray tones.

The recipes for the manufacture of alloys were a professional secret and passed from the master to a student. In the XVII-XVIII centuries. On orders of rich citizens, sculptural images were performed for home altars, as well as images with a benevolent meaning and guarding family hearth. Among them - Daruma, the legendary monk, with the name of which in Japan is connected the origin of tea, Dike - the deity of happiness and wealth, Jurodzin - the deity of happiness and longevity.

Along with this, part of household items served decorative purposes. These were smoking rooms, vases, dishes, boxes, trays, for which the connection of various metals in one product was characterized, the use of openwork threads, engraving, notches, inlaid. The tradition of applying the enamel decor on the metal base came to Japan from China at the end of the XVI century. Enamel technique had 4 varieties: the sefoded, the laid, engraved and painted. Emali called "Siplo" - seven jewels: gold, silver, emerald, coral, diamond, agate, pearls, who believed people happiness.

Japanese septo enamels of the XVII-XVIII centuries in a lot relying on Chinese samples, differed in a limited palette slightly muted tones, a clear geometric pattern, a deep dark green background. In the middle of the XIX century. Enamel technique survived the second birth. Multicious brilliant enamels were obtained, which were tightly glued to a metal basis and had a grinding well.

The flowering of the art of the septo enamel at the end of the XIX century. It was associated with the name of the famous Master Namikawa Yasoyki. From his workshop, small products were published, completely covered with enamels applied with jewelry care. Images of colors, birds, butterflies, dragons and phoenixes, numerous types of traditional ornament found a place in difficult woven lace pattern. Golden foil has created a sparkling shimmering glitter of polished surface of the product.

The manufacture and decoration of weapons has ancient tradition in Japan. The sword was considered as a sacred subject, presented by the goddess of the Sun Amateras Omikov his grandson, whom she sent to rule on earth and eradicate evil. The straight line with a double-sided sharpening sword (Ken or Tsurugi) became the belonging to the Sintosoy coal and became among the imperial regalia. In the Middle Ages, the sword became a symbol of the class of warriors, embodied the power, courage, the dignity of the samurai. It was also that the souls of the dead ancestors live in him.

In the VII century A shape of a sword with a slight bend on the back of a unilateral sharpening blades, which has come almost unchanged to the XIX century. And got the name "Niuonto" (Japanese sword). From the XVI century Aristocrats and representatives of military estates were obliged to wear two swords: the long - "Katana" and the short - "Vakidzasi", which was intended to commit a ritual suicide. In case of violation of the Code of the Code of Honor, artisans and peasants for a special permission were allowed to wear only Wakidzasi or Sword without Garda "Aikuti". The long and time-consuming process of manufacturing the blade was furnished as a solemn ritual, accompanied by special prayers, spells, the rust of the blacksmith into ceremonial clothing.

The blade was welded from several bands, they pushed at least five times, polished and polished. With the end of the XII century. The blades began to decorate with grooves, images of the sun, the moon, stars, dragons, junction-spells, made by engraving and in-depth relief. Details and rim sword from the XVI century. Created by special masters - weapons jewelers.

The blade was inserted into the handle, the basis of which was the basis of two wooden bars bonded by the metal ring "Futi" and the tips of Casira, the handle was often wrapped with a shark or skate skin, called "Sama" (shark). There was a belief that such a handle retained the ritual purity of the sword and protected the owner. A small embossed metal details "Menuki" were attached to the handle on both sides, which provided a longer capture of the sword with two hands.

On top of this, the handle was wrapped with a cord or braid, creating a braided pattern on the surface. An important detail of the sword was "TsUB" (Garda) - a protective plastic separating the blade from the handle, small sword sheaths were often decorated with a carefully decorated metal plate "Codzuk", which were the handle of a small knife inserted into the special pocket in the sheath. In the XVII-XIX centuries. Weapons, lost its practical value, turned into a decorative addition of a male costume.

In his decoration, various materials and techniques were used, openwork threads, inlaid alloy, various methods for creating embossed compositions, enamels and varnish. A special artistic completion acquired the Cubus, which began to be viewed as an independent work of art. Traditional motifs characteristic of other types of art performed: flowers, birds, landscapes, Buddhist parables, historical legends even urban life estimates. The details of one sword were combined according to the style of execution and often represented the development of one story.

Among the gunsmiths specializing in the decoration of swords, especially known was founded in the XV century. School Goto, seventeen generations of whose masters supported her fame over 400 years.

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Japanese traditional art Based on original and peculiar principles. The tastes and preferences of the Japanese are very different from the aesthetic priorities of residents of other countries. Decorative and applied art in Japan also has its own characteristic features.

Decorative works Created in this country for many centuries. These are ceramic and porcelain products, decorated fabrics and clothes, wood carving, metal and bones, beautiful weapons and much more.

In general, decorative and applied art has a certain focus. Various products are created not only in order to aesthetically enjoy their contemplation, but also to apply in everyday life.

And for the Japanese it is very important not only to use the works of such art, but also decorate your life, admiring their beauty. Residents of Japan always treated beauty in particular. It seemed to them that the magnificence and grace could be transferred to words. However, beauty was outside the everyday world. The whole life of a person was transient, after the death of the soul moved into a beautiful and mysterious world.

All listed features of the Japanese worldview were reflected in the creation of works of decorative and applied art. Any action accompanied by the use of specially manufactured products.

For example, tea or sack Cooked out of coarse and uneven cups. However, they were valued for their beauty, which existed in the otherworldly world.

Great Japanese masters Created objects, giving them aesthetic appearance. Figures - Netzke, boxes - Inro, lacquer products, elegant ash, Shirma, Waiter - all this was decorated with artistic taste and grace.

NEZKE - miniature sculpture

Miniature sculptures were used by men to wear a variety of items. Tube, a handset or wallet was fastened with the help of Netzke to Kimono's belt.

Each miniature figurine Symbolic notes carried in themselves, i.e. Something meant.

Professionalism of execution Guessing in Japanese sculptures. By the way, the art of the creation of NEZKE originates relatively recently, in 1603 - 1868of the year. This period of time in Japan is called title Edo.

The most famous masters of that period were Dorakusai. (XVIII century), SUMIN. (end of the XVIII century), Tomotada (XVIII century), Masatsugu (XIX century), Goekumin(XIX century) and others.

Which images are not used to create a NEPCE. And everyday occupations of citizens, and religious representations, and images of animals. Masters loved to portray the heroes of literary works, fairy tales, famous Japanese warriors.

If until the XIX century could notice in sculptures disproportion of shapes And the inconsistency of valid images, then later the Japanese masters tried more accurately to portray the character, transmitting his characteristic features. The world of nature has become more attractive for professionals for the manufacture of NEPCE.

Over the course of many decades, the technology of creating miniature figures has been improved.

If at the beginning of the origin of such a direction in the decorative and applied art of Japan, as material used more often tree or ivory, in the XIX century, the masters began to apply porcelain, Coral, Metal, Agat And other materials. Wooden Netzakes were necessarily polished with coal powder, rubbed oil from flax, gazed with silk. A more complex path passed the process of staining of figures.

Inro - box for the right thing

The most exquisite thing in Japanese decorative-applied arts is considered boxes -, more similar to miniature boxes.

They were part of a female or male costume. If the men hung inro as Netzke, to Kimono's belt, then women wore them in a sleeve.

Translated Inro - this box for sealswhich was used to wear different little things. She had several interior offices. The masters who made this kind of product were sought to separate Inro to separate the grace and artistic taste. The lacquer painting, and the inlair of the mother of pearl, and the decoration of ivory, precious stones, and various equipment of the decoration of Inro were used.

Kostoe - Kimono Short Sleeve

Codehow the subject of Japanese clothes is known for a long time. However, only in the era of Edo Kimono with short sleeves began to decorate brightly, using new technologies of coloring fabrics.

The aspilate became an object of decorative and applied art. It should be noted that, depending on the cases in the life of a person, the Japanese put on a certain way the declared directions. The diverse use of silk yarns had a stunning result. Each costera was decorative art Japanese people.

Fan as a work of Japanese decorative art

Fan Also attracted the attention of Japanese masters and became the subject of art. Fan - sans came to Japan, most likely from China. And already Japanese masters gave him his unique, elegant look.

View of Veter - wiv It is considered purely Japanese invention. This is such a fan petal that has been made from a solid piece of wood, then triggered expensive silk or paper on which beautiful drawings were applied.

The plots of drawings had different character. Japanese traditions were visible to the naked eye in every such work of art as a fan.

By the way, the Japanese have created such a version that was used on the fighting field. As picked up, such an object was used with the return of instructions on the battlefield. A certain type of finish accompanied this veser. More often on it was portrayed a red circle on a yellow background with one side, and a yellow circle on a red background - on the other.

Japanese art sword

The aesthetic principles of the decorative and applied art of Japan were fully expressed in the manufacture and decoration of artistic swords.

M. ex - This is a special subject to worship the Japanese, and for its creation, various materials and techniques were used.

Japanese Sword Not only is elected in shape. The special structure of the steel, the shining line of the blade, the surface of which was thoroughly polished, characterizes such an object as the highest product of Japanese art. Some blades were also decorated with relief figures of dragons, the coat of arms of samurai, were separated by hieroglyphs.

In Japan existed schools of weapons Masterswhich made various combat swords, specialized in the artistic decoration of weapons. Such a well-known gunmaker as Masamune (EndXIII. Century - BeginningXIV century) It was famous for all Japan with his skill. Purchase his sword of his work dreams of many of our contemporaries-connoisseurs of Japanese weapons art.

Varnish and ceramic products

Varnished products Used in Japan everywhere. It is dishes, and homemade utensils, and different necessary things for care for themselves, and armor, and even weapons. Houses of noble parts were decorated with similar products.

Traditional varnisheswhich were used by Japanese masters, were red, black and golden. Elder Edo Employ marked by the production of green, brown and yellow varnishes. And at the beginning of the 20th century, the Japanese were obtained white, purple and blue colors of varnishes. Paint painting With the use of gold, pearl and silver inlays is the most magnificent way to finish various products by Japanese masters.

Ceramic products Also were the subject of Japanese decorative and applied art. Many technologies are taken from China and Korea. However, the Japanese ceramics are characterized by the fact that the masters paid much attention not only to such parameters as a form, ornament and color, but what sensations will cause a ceramic product when contacting with human palm.

Ceramics articlesin Japan, this is a wide variety of different types of dishes, such as teapots, sake vessels, decorative dishes, pots, and others. Porcelain thin-walled vases are still in demand in the West countries.

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