https://core.ac.uk/download/pdf/198398633.pdf
“Contemporary Art Currents between India and Japan” by Anu Jindal, published by International Research Centre for Japanese Studies, Kyoto, Japan, 2011

 

Shūnyatā: Visual Translation of the Void in Contemporary Japanese Art & Design

by Dr Anu Jindal



Abstract
The Buddhist concept of  Shunyat(Sanskrit) kū (Japanese) variously translated as emptiness, void or non-substantiality was articulated by the Indian scholar Nagarjuna as a state of “neither existence nor nonexistence” which described the true nature of all things. In Contemporary Japanese Visual Arts shūnyatāmanifests as purity, tranquility, austerity, simplicity in contrast to the stress and turmoil of the world today. Shūnyatā also expounds on the latent potential inherent in life which can express itself at any time. Visual translation of the void encourages active participation by the viewer, prodding the memory bringing forth subliminal thoughts to rise into the consciousness.

This paper discusses shūnyatā in Japanese aesthetic renditions taking examples from contemporary art and design works.

 

Copyright © 2014 - All Rights Reserved http://www.anujindal.com

 

 

"The Esoteric Brush of Japanese Painting"

Abstract of Illustrated Talk by Anu Jindal
presented on 8 Oct 2012 at India International Center, New Delhi.

An event marking 2012: 60th Anniversary of Japan-India Diplomatic Ties.

Japanese Painting has traversed through many media, styles and subjects over the centuries. The earliest examples of paintings are of those executed on the walls within the kofun (tombs) of the Imperial rulers in the Kofun period (c. 250-552 CE). Geometric patterns dominate accompanied by stylized drawings of humans, trees, boats and sea waves.

With the introduction of Buddhism in the sixth century from the Korean kingdom of Paekche, paintings were devoted mainly to religious themes. Though the Asuka (552-646), Early Nara (or Hakuhō - 646-710) and Heian periods (794-1185) saw a greater number of sculptures produced, yet a large body of colourful paintings portraying the Buddha, Bodhisattvas and mandalas were also made. The large size wall paintings in the Hōryū-ji temple are considered to be stylistically close to the Ajanta caves buddhist paintings in India. The indigenous style of painting, Yamato-e dealt with narrative subjects on the scroll format. The famous novel "The Tale of Genji" by Murasaki Shikibu, was one of the favoured themes for this style of painting. An interesting pictorial technique was the rendition of "roofless" buildings allowing insights into the exquisitely refined life of the court. The satirical drawings from Kōzan-ji attributed to Toba Sōjo reveal the Japanese talent for manga (cartoons) which is so prolifically produced today.

In the Kamakura (1185-1338) and Muromachi (1338-1573) periods the military government's patronage of Zen Buddhism and artistic influences from Sung China brought about a radical change. Suiboku-ga or ink and water paintings became the favoured medium. Minimal and austere, these works propounded the tenets of the Zen faith.  Several centuries later  a sweeping change reflected in the opulence of the Momoyama period (1573-1615). Building of grand castles and villas were undertaken, requiring the sumptuous interiors to be decorated with large format screen and mural paintings executed on gold leaf.

The capital was shifted to Edo (modern day Tokyo) in the Edo period (1615-1868) the era of the rise of an increasingly rich merchant class, eager to emulate the aristocracy. The huge requirement for artworks gave rise to the art of Ukiyo-e, initially made in paintings, later to meet the demand through the technique of the woodcut prints. Vibrant portrayals of the Geisha - reigning beauties of the day and the Kabuki actors were popular. Shun-ga (literally springtime pictures) dealt with erotic subjects, while meisho-e were depictions of famous landscapes.

In the 19th century Japan threw open its doors to the west, and the influx of western influences showed new avenues to artists. While some developments were positive and necessary to infuse change it also brought about a struggle with the indigenous emotion and foreign expression. But once these issues were resolved the inherent Japanese spirit shone through.

Contemporary Japanese painting displays the inherent esoteric qualities which are a legacy of the country's rich heritage combined with modern techniques and expression. The work of the world famous and highly versatile Takashi Murakami draws from the prolific output of  Japanese anime and manga (animation/cartoons) leading to his signature style which he named "superflat".

Today both traditional and contemporary practices coexist happily, with many artists continuing to keep conventional methods alive through nihonga (Japanese style painting) using natural colours, others preferring current media like installations, video and performance art often surreal and created on magna scale.

Copyright: You are free to use any part of the articles but I request that please inform the Author and give suitable credit in the work that it is used.