Japan Art Statue

Novi Prastiti                            120610216

O Lydia Panduwinata             120710298

DEPARTMENT OF JAPANESE LETTERS

FACULTY OF HUMANITIES

AIRLANGGA UNIVERSITY

SURABAYA

2009

I. background




Sculpture in Japan began in the Jomon era. This, marked by the discovery of many small statues known as dogū in eastern Japan. Since the first, dogū symbolized by female genitals and is also associated with the cult, but the function itself is still a mystery. By understanding the example at the end of the Jomon era, dogū have described large eyes are oval, the front half of the body surface there knees and intricate ornaments.

End of the Jomon era Dogū disappear and reappear in Kofun era which is a continuation of the tradition of sculpture, haniwa. Haniwa are also a hallmark of the Japanese nation, shaped cylinder made ​​of baked clay medium heat, placed around the tumuli (grave) to separate the sacred relics of the ancestors. In contrast, the majority has a simple structure, sometimes with holes, others are limited by the image of birds and animals, helmets, food vessel, houses and other everyday objects, or a human image, including shamans and armed men. Their masks formed with a horizontal line with the hole on the eyes and mouth, this is often in contrast to the detailed clothing or ornaments.



II. Introduction to Buddhism

 Japan entered a historic moment for sculpture, along with the transmission of Buddhism from Asia in the 6th century. Kingdoms of Korea, Paekche, be the first to send a statue of Buddha to Japan in the year 538 and send a sculptor in the year 577. Since Japan does not continue the tradition of sculpture development, the Japanese put on forms and techniques from the plains of China. The first example is spreading appearance sculpture from Northern Wei dynasty, which is interpreted by the Korean peninsula. Appearance of most Japanese sculpture was given a shiny layer of bronze, and the view made wax removal techniques, while others carved out of wood champor tree. Previously, the record of the number of statues in Japan created by three sculptors in 587 immigrants, who are experts to cure the Emperor Yōmei of illness. This event takes place continuously on the 7th and 8th century - an important role is played by immigrant artists and sculpture training in preparation for this comparison is very favorable.

The first statue in Japan remains very damaging image Hōkō-ji in Nara, the image of Shaka silver lining, played by Tori no Kuratsukuri known as Tori Busshi (600-630), the third generation of Korean immigrants. Prominent is the Triads of the work of Shaka, now becomes the main image Hōryū-ji, also in Nara, in the year 622 that help cure diseases Shōtoku Taishi (574-622). It is distinguished by the front of a static posture, a straight line on the head, face and idealize Tampakan. And the emphasis on plain style of China, with a different form than the form of the plains of China.Sculpture in the 7th century and 8 characterized by the continuation of adapting and of re-drawing styles and techniques from the plains of China. Since contact with mainland China, it was inevitable, Chinese and Korean style formulated by the Japanese, the result still looks the same as the original (prototype). The silver lining is produced by a given frequency, but other materials are still controlled well as clay and lacquer.Representatives of sculpture at the end of the 7th century and reveals the influence of Tang style was standing Kannon silver lining, known as 'Yumetagae Kannon', which is also a collection of Hōryū-ji. The transformation of the mid-century style of language is evidence of more natural body care. Some of the famous image of the first decade of the century-8 is a statue of clay that became the scene of the pagoda base rate at five levels Hōryū-ji, which displays the poses and expressions of greater realism. Other works such as the Triad of The Healing Buddha is the main characteristic of the Yakushi-ji.The middle decades of the 8th century was dominated by the style of the Great Buddha by Shōmu Emperor (701-756) at 743 as a symbol of national unity and Buddhism. Work on the temple image and did not start until the year 745 and not over till the year 757. The statues are now in the Great Buddha Hall in Todai-ji is a reconstruction of the late 17th century, only a foot and pristine lotus pedestal. The project was taken from national sources and produce Shōmu which is the end of the theocracy. Nevertheless, the image remains a symbol of the eternal in Japanese history.


III. The rise of Timber Usage

 At the end of the 8th century, Japan began to explore sculpture with an expression derived from the natives who have undergone maturation in the Heian period. Technical changes along with the introduction of substitute wood lacquer and bronze as the material used and the Japanese artists began to use these materials in different ways. The appeal of the wood itself has been ingrained in the traditions of Shinto, which dwell on the sanctity of a tree and probably not a coincidence that Shinto sculpture first appeared in this era.One of the first sculptures that reflect the radical changes of the Healing Buddha statue that stood at Jingo-ji in Kyoto. The statue was carved from a block of pine and pemahatnya put quality in the material by adding a sculptured accent on the surface that is free of paint. Some of the sculptured faces and bodies are still influenced style in the late Tang period, but they managed to achieve greatness under the Japanese artist. Since one block of wood used in the mid-ninth century began to split, sculptors gradually found a way to dispose of the center of the timber. First, try to puncture the back image of the shoulder to the ankle, but in the early 10th century, this method is changing with the hole in the tree first, then sculpt. Then, they quickly began to use some of the trees.The development style can still be traced from the end of the 9th century until the end of the 11th century. This is commonly called the native style of the mid-11th century is in the image with a statue of Amida Buddha is located in Phoenix Hall of Byōdō-ins in southern Kyoto. Collected by artists Jocho in 1053, facial expressions and body are measured and folded her clothes reflect the two-dimensional formula. Image was carved using Japanese cypress tree, which is technically still incorporates some previously perforated timber first before put together. This method is refined by Jocho and his assistant, with complete facilities of large images, since all preparations have been made in the workplace.Sculpture at the end of the Heian era dominated by appearances throughout Japan are countless number of his works that are replicas of Jocho. Broadly speaking, the image produced by artists who compete among offspring, such as In School and School En, who received commissions from the royal family and aristocrats in power. Around the year 1150, sculptor outside the big cities looking for other ways to change the original style. The first change came in Nara with a statue of Amida triad as in Chōgaku-ji (1151). Other artists to get rid of two-dimensional folds and replace it with plastic so as to create a new surface. To enliven his image, the eye of the artist with glass crystal and colored pupils with a red circle umtuk adds to the impression of nature.

IV. Reconstruction of Nara

 One more natural activity that could be a sign of rare for the sculptors at work during the late Nara period Heian and early Kamakura period. The most famous among them is Kōkei (1175-95), his son Unkei (? -1223) And the chief disciple Kaikei (1189-1223). Burning of the temple in Nara Todai-ji and Kofuku-ji in 1180 during the civil war between the Taira and Minamoto attacked the sculptors in the middle of their activities. During the years 1180 and 1190's they rebuild all burned, and many incorporate the old style in the process. To adjust the update, connect them to modify the technique of wood. They also pierce less wood to provide maximum employment in their natural sculpture techniques.Given Unkei and his son worked for a variety of patron of Eastern Japan, such as Nara and Kyoto, Kaikei working solely for Chōgen (1121-1206), monk organizing the reconstruction of Todai-ji. Chōgen image collection at the temple, it is important for the realism that is difficult compromised, is one of Japanese sculpture in the 13th century. Unkei balance naturalism with idealism to create dynamism, intensity and strength in a large, as evidence a picture of Asanga and Vasubandhu in Kofuku-ji. On the other hand, tried to soften Kaikei natural elements in his work to create a characteristic with exterior improvements. Popularity of the style of Pure Land Kaikei between communities that formed around Chōgen that has been shown by many works of Amida that he created.After the death Unkei, his son continued his father's work, but in the last decade of the 13th century, their work was prevalent. Pupils Kaikei trying to perpetuate his style, but most of the sculpture produced loss of religious values ​​from the work of his teacher. The impact of Song style can be seen in Kamakura which leads to China that describes the Zen sect; under the influence of Zen Buddhism, a new type of picture known as chinsō, was introduced. In this image, reminiscent of the lessons given by teachers on students, the general shape is usually sitting in a chair with legs folded underneath. The form has been standardized, but the sculpture great attention on the physical form.


V. Further development of the Chisel Art

  Sculpture in the period Muromachi, Momoyama and Tokugawa do a little more style imitation at first, and his work had little originality. Only in small part the work of the sculptor who carved a part of religious shows several developments including: Enkū (? -1695) Who traveled throughout Japan to produce the quantity of images. The continuous professional sculptors create architectural decoration.

At the time of Japan's political conduct is open to the West during the Meiji period carved patterns and abolished the old traditional sculptors were forced to carve and sculpt the ivory netsuke to survive. Others, such as Kōun Takamura (1852-1934), who successfully combine Western realism with traditional culture. For comparison with painting, however, the ideology of Western sculpture not developed during the Meiji period, since the sculpture and sculptors did not show a high art. Some of the works first produced in Western style is partly a public image in bronze from the Japanese cultural heroes that are important to the Meiji government. Culture took place during the 1950's that Japanese sculptors can assimilate Western traditions and menransformasikan through aesthetic choices that they see as their cultural roots in the past.

VI. conclusion
  From a review of literature, obtained the conclusion that Japanese sculpture is a tradition of protecting its own self. It can be seen in the form of sculpture was first known as the in-image dogū her as a woman who expected dogū that serves as a talisman can protect someone from harm such as the protection afforded by a mother.

In the development of Japanese sculpture experience with the assimilation of Western culture and has developed based on the use of media ranging from wood, ivory, and bronze. However, with the assimilation of Western culture can not eliminate the Japanese culture which always contain aesthetics in the making, so making sculpture by Japanese culture can be maintained until today.