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Japanese culture is a unique original phenomenon not only in the context of global culture, but also in a number of other Eastern cultures. It has been continuously developed since the 10th - 11th centuries. From the 17th century until the middle of the 19th century, Japan was practically closed to foreigners (connections were maintained only with the Netherlands and China). During this period of isolation in Japan, a national identity was creatively developed. And when, after several centuries, the richest traditional culture of Japan finally opened up to the world, it had a strong influence on the subsequent development of European painting, theater and literature. Japanese civilization was formed as a result of complex and multi-temporal ethnic contacts. Japanese culture, unlike Indian and Chinese, was only just being born at the turn of the Middle Ages, so it was characterized by increased dynamism and a special sensitivity to the perception of foreign influences.

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In Japanese mythology, the divine spouses: Izanagi and Izanami were considered the ancestors of everything that exists. From them came a triad of great gods: Amaterasu - the goddess of the Sun, Tsukiyomi - the goddess of the Moon Susanoo - the god of storm and wind. According to the ideas of the ancient Japanese, the deities did not have a humanoid or animal-like appearance, but were embodied in nature itself - in the Sun, the Moon, mountains and rocks, rivers and waterfalls, trees and grasses, which were revered as kami spirits ("kami" in translation from Japanese means "divine wind"). This deification of nature underlies the national Japanese religion, which is called Shintoism (from the Japanese "Shinto" - "the way of the gods").

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According to the Kojiki, the oldest monument of the Japanese language and literature, the sun goddess Amaterasu gave her grandson Prince Ninigi, the deified ancestor of the Japanese, the sacred Yata mirror and said: “Look at this mirror the way you look at me.” She gave him this mirror along with the sacred sword Murakumo and the sacred jasper necklace Yasakani. These three symbols of the Japanese people, Japanese culture, Japanese statehood has been passed down from time immemorial from generation to generation as a sacred baton of valor, knowledge, and art.

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In the history of Japanese culture and art, three deep, still living currents, three dimensions of Japanese spirituality, interpenetrating and enriching each other, can be distinguished: Shinto (“the path of heavenly deities”) is the popular pagan religion of the Japanese; Zen is the most influential trend in Buddhism in Japan (Zen is both a doctrine and a way of life, similar to medieval Christianity and Islam); bushido ("way of the warrior") - the aesthetics of samurai, the art of the sword and death.

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Jasper - ancient symbol ideas of Shinto, which is based on the cult of ancestors. The mirror - a symbol of purity, dispassion and self-deepening, expresses the ideas of Zen in the best possible way. The sword (“the soul of a samurai,” as an ancient Japanese proverb says) is the symbol of bushido. These three currents in Japanese culture and art cannot, of course, be singled out in their pure form. At the same time, they to a certain extent determine the sequence of development of Japanese culture.

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The earliest of all, already in the 3rd-7th centuries, an ideological and artistic complex associated with Shinto was formed. It was dominant in the era of the formation of the Yamato state, retained its position during the period of the first penetration of Buddhism, and finally practically merged with it (8th century). These early centuries pass as if under the sign of jasper. Then, having their roots in the warlike era of Yamato, gradually maturing, they appear at the turn of the 12th-13th centuries as an established ideological and artistic system of ethics and aesthetics of bushido: culture under the sign of the sword. Since the 13th century, it has continued its development in close interaction and interpenetration with the Buddhist Mahayana teachings of Zen. Intertwined in both ideological and purely artistic manifestations, Zen and Bushido determined the Japanese national culture almost until our 21st century.

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Ancient monuments Japanese art dates back to the Neolithic period (8th century - mid-1st millennium BC): ceramic dishes with magnificent molded decor, stylized figures of idols, anthropomorphic masks. At the end of the Neolithic - the beginning of the early Iron Age (V century BC - IV century AD), along with dugouts and huts, granaries were erected from logs - rectangular in plan, devoid of windows, with a gable roof, raised by pillars above earth. In the first centuries of our era, with the establishment of the Shinto religion, the main sanctuaries of Japan in Ise and Izumo (550) were erected in the vast pebble-covered territories surrounded by fences, like granaries. With the simplicity and clarity of their designs, they laid the foundation for the tradition of Japanese architecture. Household ceramics gained clarity of form and rigor of geometric patterns, ritual bronze swords, mirrors, and bells spread. In the 4th-6th centuries, with the formation of the state of Yamato (in the center of the island of Honshu), grandiose burial mounds of rulers were built. Clay figurines of magical purpose (“khaniva”) - warriors, priests, court ladies, animals, etc., located on their surface. - are distinguished by lively immediacy of facial expressions and gestures.

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The period of the Middle Ages, which lasted over a thousand years (VI-XIX centuries), was the most fruitful for Japanese art. A significant event in the development of Japanese culture was the acquaintance with the Buddhist faith at the end of the 5th century. Along with writing and the refined continental culture brought by Buddhist monks, the new religion marked the beginning of Japan's contacts with the rest of the Asian world.

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With the spread of Buddhism, intensive construction of Buddhist monasteries began, dating back to Korean and Chinese models. The most famous was Horyuji (late 6th - early 7th centuries) - a small temple complex located outside the city of Nara, a place of concentration of the most important monuments of Japanese Buddhism, as well as the oldest wooden buildings in the world. The temple ensemble included: a multi-tiered pagoda, the main temple - a kondo (Golden Hall), a hall for sermons, a repository of Buddhist sutras, monks' dwellings and other buildings. Temple buildings were located on a rectangular area surrounded by two rows of walls with gates. The buildings were erected on the basis of a rack-and-beam frame structure. Columns and corbels painted with red lacquer supported a massive tiled one- or two-tiered roof, curved at the edges. The "miracle of beauty" of the Horyuji ensemble lies in the amazing balance and harmony of two buildings of different shapes - a temple with its light, as if floating roofs and a pagoda directed upwards, ending with a spire with nine rings - a symbol of Buddhist celestial spheres.

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Another significant phenomenon of Japanese sculpture of this period is the figures of meditating or praying monks, with penetrating and accentuated realism conveying not only their physical features, but also spiritual ecstasy and prayerful concentration.

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The main event in the architecture of the XII-XIII centuries. was the restoration of buildings in the old capital of Heijo (modern Nara), destroyed and burned during internecine wars. So, in 1199, the Great South Gate of the Todaiji ensemble was rebuilt and the Daibutsuden (Big Buddha Hall) was restored.

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The tea ceremony (chado), philosophical "rock gardens", short and capacious three-line reflections (haiku) - everything is cultivated under the sign of self-deepening and insight, under the sign of a mirror. This is how the "programmed" in ancient myth about the three treasures of the thousand-year relay race of Japanese culture of Japanese art.

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Ikebana is the traditional Japanese art of flower arranging. Literally, ikebana means "flowers that live." In European art, the composition of a bouquet demonstrates the skill of the person who created it, while the creators of ikebana seek to reveal in it not their passions and tastes, not their individuality, but the natural essence of the plants presented in the ikebana, the deep meaning of their combinations and arrangement - the composition as a whole. In addition, Europeans for the most part strive for pomp, elegance, richness of color, while Japanese ikebana masters strive for extreme rigor, even conciseness in form, sometimes limiting themselves to two or three branches and paying special attention to the simplest and most modest plants. This art form, which originated in India and penetrated to Japan along with Buddhism from China, became widespread in this country and began to play a significant role in the cultural life of its society.

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It was in Japan that ikebana, having gone beyond the ritual rite of offering symbolically significant flowers to the Buddha, as well as to revered ancestors, became a special kind of art that was widely introduced into various spheres of public life. Simplicity as a sign of originality and singularity as a sign of the whole - this is the credo of true ikebana artists. Their creations in this sense are reminiscent of Japanese haiku poetry: they are distinguished by the same brevity, depth and perfection. The art of ikebana in modern Japan is one of the most popular, it is recognized as a symbol national identity and as the embodiment of high artistic taste, recognized throughout the world.

"Art of the 19th century in Russia" - Fizkulminutka. I. Repin was born on July 24, 1844 in Chuguev. The world. Creation artistic images with the help of paints. Conclusion. Literature. That is why the 19th century was called "Golden". You'll see, now they'll come closer, it's worth taking a look... We've come closer. The works of A.S. Pushkin enter the life of a Russian person from early childhood.

"Art Project" - Questions. Ensuring: Working in a team and in groups creates a situation of success. Informational resources. Vision: Develop teamwork skills. Evaluation criteria. Annotation: The final collective work on the project. True. What is the interior of a peasant house? In art, people express their soul, their mindset and character.

"Beautiful in art" - I. Aivazovsky "The Ninth Wave". K. Korovin "Roses". Centuries passed. I. Levitan " Golden autumn". I. Levitan " Birch Grove". Phloxes. Beautiful in life and works of art. Some people have achieved great skill in the ability to draw. I. Shishkin "Rye". I.Kramskoy “Bouquet of flowers. Man has always wanted to capture the beautiful, that which surprised and delighted.

"Creativity in art" - Bogdanov-Belsky. 1915. World of Art. 1916-1920. The founders of the "World of Arts" were the artist A. N. Benois and the theater figure S. P. Diaghilev. He was buried in the Sainte-Genevieve-des-Bois cemetery. Symbolism and Art Nouveau as Stylistic Trends at the Beginning of the 20th Century. I bow my head silently At your feet. Artists organized exhibitions under the auspices of the World of Art magazine.

"Art of the 20th century" - Plan: Conclusion. The novel is written in the form of a diary. characteristics of the era Sections on art representatives. Sections on art. Visual row illustration. Representatives. Existentialism arose in philosophy in the 1920s. 20th century. The novel "The Glass Bead Game" depicts a reality that practically does not exist.

"Russian decorative art" - State Armory. Russian porcelain reaches the European level. Moscow becomes the capital of a mighty power. Woodcarving, painting. Pano. First half of the 19th century. 17th century tile. In artistic sewing, gold, pearls, gems. Imperial Porcelain Factory.

Japan at the end of the 19th century architects from the USA and Europe worked. The Englishman W. Barton built in 1890 a 12-story "Tower that reaches the clouds" - Ryonkaku. The structure was 67 m high, according to the design - an 8-corner tower made of red brick, the two upper floors were made of wood. Japan's first building equipped with an electric elevator. The Englishman W. Barton built in 1890 a 12-story "Tower that reaches the clouds" - Ryonkaku. The structure was 67 m high, according to the design - an 8-corner tower made of red brick, the two upper floors were made of wood. Japan's first building equipped with an electric elevator.

The leading direction in Japanese architecture of the 2nd half of the 20th century. METABOLISM (Greek: metabole change) is a direction in architecture and urban planning that arose in the 1960s. and represented primarily by the works of Japanese architects K. Tange, K. Kikutake, K. Kurosawa and others. A trend in architecture and urban planning that arose in the 1960s. and represented primarily by the works of Japanese architects K. Tange, K. Kikutake, K. Kurosawa and others.

Kisho Mayokawa. Metropolitan Festival Hall in Ueno Park, Tokyo

Tange Kenzo. Monument to the victims of the atomic bombing in Hiroshima

The New Tokyo Tower is the tallest in the world Project authors: architect Tadao Ando; sculptor Kiichi Sumikawa.

Yoga is characterized by easel oil painting on canvas. Among the first yoga artists are Kawakami Togai () and Takahashi Yuichi (), who began to engage in European painting even before the Meiji Restoration.

1876 ​​- A western school of arts was established at the State College of Engineering. Several Italians were invited to teach there. One of them Antonio Fontanesi () had a significant impact on art world Japan.

After 1882, Yoga painting was no longer allowed to enter state exhibitions of the city - the Society of Meiji Art was founded, which included realist artists who returned from Europe.

Kuroda Seiki (Maiko) JAPANESE IMPRESSIONISM

Maruki Toshiko and Maruki Irie (Laureates Nobel Prize world) "Atomic bomb", "Atomic bomb", MODERN TRENDS IN PAINTING OF JAPAN

The undisputed leader is Takeuchi Seiho (). Takeuchi Seiho, together with two other prominent masters: Kikuchi Homon () and Yamamoto Shunkyo () - determined the direction of development of the Kyoto school of nihonga.

A separate trend in nihonga is the Bundzinga school - painting of educated people, or Nanga - southern painting. The brightest representative is Tomioka Tessai ().

2. The middle generation of Ito Shinsui (), Hashimoto Meiji (), Yamaguchi Hosun () and others - embodied the ideals of nihonga in traditionally seasoned styles.

3. The younger generation believed that the old forms and techniques of nihonga did not make it possible to convey realities modern life. The emerging youth associations became the focus of innovative developments and experiments, contributed to the renewal of nihonga at the end of the 20th century. Representatives: Azami Takako (b. 1964).

Masterpieces of Japanese architecture For centuries, palaces and temples in Japan were built in the Chinese style, but the national architecture of Japan has a characteristic appearance. One of the oldest architectural structures in Japan is the Horyuji Buddhist monastery in the city of Nara, the first capital of the Japanese state. The palace complex, created in the best traditions of Chinese architecture, is a unique phenomenon. For centuries, palaces and temples in Japan were built in the Chinese style, but the national architecture of Japan has a characteristic appearance. One of the oldest architectural structures in Japan is the Horyuji Buddhist monastery in the city of Nara, the first capital of the Japanese state. The palace complex, created in the best traditions of Chinese architecture, is a unique phenomenon. Horyuji Monastery. 607 Nara. Horyuji Monastery. 607 Nara.

Particularly noteworthy are the Golden Hall and the pagoda, which form the basis of the monastery. The Golden Hall in plan is a rectangular two-story building, standing on a stone foundation and supported by 26 columns. Two massive curved blue-gray tiled roofs emphasize the solemn character of the building. Horyuji Monastery. 607 Nara. Horyuji Monastery. 607 Nara. Golden Hall and Pagoda. Golden Hall and Pagoda.

The Golden Pavilion in Kyoto, a classic example of exquisite Japanese architecture, became a true masterpiece of Japanese architecture. The pavilion owes its unusual name to a three-tiered roof with slightly raised edges, once covered with sheets of gold leaf. The architects carefully considered the layout and location of the building. It rises on the shore of a small lake on light pillars, columns, reflected in the water with all the richness of curved lines, carved walls and patterned cornices. The Golden Pavilion in Kyoto, a classic example of exquisite Japanese architecture, became a true masterpiece of Japanese architecture. The pavilion owes its unusual name to a three-tiered roof with slightly raised edges, once covered with sheets of gold leaf. The architects carefully considered the layout and location of the building. It rises on the shore of a small lake on light pillars, columns, reflected in the water with all the richness of curved lines, carved walls and patterned cornices. Golden pavilion. 16th century Kyoto. Golden pavilion. 16th century Kyoto.

Golden pavilion. 16th century Kyoto. The background for it is lush evergreen vegetation. The walls of the temple are painted in golden color, so that in the rays of the dazzling sun reflected in the mirror surface of the lake, it is an unusually beautiful sight. The background for it is lush evergreen vegetation. The walls of the temple are painted in golden color, so that in the rays of the dazzling sun reflected in the mirror surface of the lake, it is an unusually beautiful sight.

During the internecine wars and the struggle for the unification of the country, defensive structures began to be erected. It is no longer temples and monasteries that play a leading role in architecture, but castles of unprecedented size and splendor, surrounded by several rings of powerful defensive walls, and watchtowers victoriously ascending to the sky. During the internecine wars and the struggle for the unification of the country, defensive structures began to be erected. It is no longer temples and monasteries that play a leading role in architecture, but castles of unprecedented size and splendor, surrounded by several rings of powerful defensive walls, and watchtowers victoriously ascending to the sky. One of the most picturesque castles of that time is Himeji Castle near the city of Kobe. The snow-white towers and walls of the castle, rising above the powerful masonry, gave it another name - the Castle of the White Heron. One of the most picturesque castles of that time is Himeji Castle near the city of Kobe. The snow-white towers and walls of the castle, rising above the powerful masonry, gave it another name - the Castle of the White Heron. Himeji Castle - 1609 Kobe Himeji Castle - 1609 Kobe

Himeji Castle - 1609 Kobe

Himeji Castle - 1609 Kobe. Himeji Castle - 1609 Kobe. Himeji Castle is a huge and complex complex of architectural structures with many labyrinths, secret passages and buildings inside the walls. Himeji Castle is a huge and complex complex of architectural structures with many labyrinths, secret passages and buildings inside the walls.

Himeji Castle - 1609 Kobe Himeji Castle - 1609 Kobe More than ten gates of various designs had to be passed to get to the central tower - the main citadel of the castle. More than ten gates of various designs had to be passed in order to get to the central tower - the main citadel of the castle.

Staircase of Himeji Castle Kobe. Staircase of Himeji Castle Kobe.

Garden and park art of Japan The origins of the garden and park art of Japan date back to antiquity, when people worshiped water, rocks, mountains, stones... Water in the Japanese view is a mirror of the world, the embodiment of peace, which appears as an endless game of reflections. Water is the embodiment of fluidity, change and transformation of life. The origins of Japanese landscape gardening art dates back to antiquity, when people worshiped water, rocks, mountains, stones... Water in the Japanese view is a mirror of the world, the embodiment of peace, which appears as an endless play of reflections. Water is the embodiment of fluidity, change and transformation of life. The garden of the Sambo monastery. 16th century The garden of the Sambo monastery. 16th century

The stones were considered to be created from "the purest energy of Heaven and Earth." Bringing stones into the garden and arranging them correctly means introducing a cycle of energy into the space of the garden, embodying the idea of ​​the world in miniature. Stones are messengers of the eternal, evoking thoughts of the past. In stones, they valued the play of colors, patterns, veins on the surface, the presence of voids, the ability to make a sound when struck with an iron stick. The stones were considered to be created from "the purest energy of Heaven and Earth." Bringing stones into the garden and arranging them correctly means introducing a cycle of energy into the space of the garden, embodying the idea of ​​the world in miniature. Stones are messengers of the eternal, evoking thoughts of the past. In stones, they valued the play of colors, patterns, veins on the surface, the presence of voids, the ability to make a sound when struck with an iron stick. Daisen-in garden. Kyoto. 16th century Daisen-in garden. Kyoto. 16th century

Japanese masters have made their unique contribution to the development of gardening art. Starting to create a garden, the artist first of all chose its type: a tree garden, a rock garden or a water garden. Japanese masters have made their unique contribution to the development of gardening art. Starting to create a garden, the artist first of all chose its type: a tree garden, a rock garden or a water garden. Daisen-in Garden of the Daitokuji Monastery

In the tree garden, the main semantic accents are artfully arranged trees of various species. In the garden of water, the main role is played by water, presented in all its changing manifestations (quiet backwaters and ponds, springs and streams, waterfalls and trickles). The beauty of water is complemented by the beauty of living wood and dead stone. In the tree garden, the main semantic accents are artfully arranged trees of various species. In the garden of water, the main role is played by water, presented in all its changing manifestations (quiet backwaters and ponds, springs and streams, waterfalls and trickles). The beauty of water is complemented by the beauty of living wood and dead stone. Silver pavilion.15th century. Silver pavilion.15th century.
There are no mountains, no water, no trees, not a single flower in the famous Ryanji rock garden in Kyoto (“Flat Garden”). There is nothing in it that changes, grows and fades, is exposed to time. Everything here creates an atmosphere of philosophical self-deepening, focuses a person on the main thing - on the experience of space. But this external static character is, in fact, changeable and conditional. The garden changes every moment, it is unique at different times of the day and year. There are no mountains, no water, no trees, not a single flower in the famous Ryanji rock garden in Kyoto (“Flat Garden”). There is nothing in it that changes, grows and fades, is exposed to time. Everything here creates an atmosphere of philosophical self-deepening, focuses a person on the main thing - on the experience of space. But this external static character is, in fact, changeable and conditional. The garden changes every moment, it is unique at different times of the day and year. Ryanji rock garden. 16th century Kyoto. Ryanji rock garden. 16th century Kyoto.

Ryanji rock garden. 16th century Kyoto Reanji rock garden. 16th century Kyoto Fifteen large rocks of mountain origin and light sea sand - these are all the components of this unusual garden. The stones are surrounded by dark green moss and arranged in groups on a small area. Fifteen large stones of mountain origin and light sea sand - these are all the components of this unusual garden. The stones are surrounded by dark green moss and arranged in groups on a small area.