User:Eouzts/sandbox

Sandbox test page Buddhism spread to Japan in the 6th century via China and Korea. While Buddhism spread through trade with the Chinese, it ultimately spread when the Korean king gifted Japan with a statue of Buddha. The nobles took to Buddhism as the new official religion of Japan, however due to its complex theories it was resented by the lower classes. It was also assumed that Buddhism would rival Shintoism, however the two religions managed to coexist and even compliment each other. Japanese Buddhist art evolved from the time of its origin to the sixth century; and during the eighth century it became a fashionable trend and consequently experienced a splurge in architecture. Buddhist art in Japan is categorized by chronological time periods beginning in Classical Japan extending through Medieval Japan: Asuka period, Nara period, Heian period, and Kamakura period. In addition, zen art is a key period of Japanese buddhist art. Asuka Period: The dates for the Asuka period are debated, however it is agreed upon that the period extends from mid 500s to early 700s AD. This period is marked by an emphasis on political and cultural relationships with Korea. Buddhist texts, implements of worship, and iconography were presented to Japan by Emperor Kimmei in 538 or 552 AD. However, it is likely that more casual introductions had already been made. It was during this period that Buddhism was established as the state religion. The Asuka period is characterized as the foundation for individualistic and public forms of Buddhist art. Specifically, during this period depictions of Buddha are rendered through key iconography such as a lotus, swirled hair, a third eye, mudras, and mandorals. Key works include: the Shaka Triad, Yakushi Triad, Kannon, and Tamamushi Shrine.

Nara Period: The dates for the Nara period are thought to be around 710-784. The beginning of this period is marked by the relocation of Japan’s capital to Nara. It was during this period that Japanese society took on a more hierarchical structure with all power proceeding the emperor. In addition there was a merging of Buddhism and state which led to the commission of large scale temple complexes with monuments such as pagodas. In terms of sculpture, this period marked the adoption of the hollow- core dry lacquer technique - it has been suggested that this technique was used in an effort to reduce the use of bronze. Rather than merely depicting Buddha and bodhisattvas, renderings of deities and guardian figures begin to appear with individualistic and expressive features. The end of the nara period is marked by a stylistic shift in sculpture. The technique known as hompa-shiki was a new way to render drapery in a more solid and fleshy form. This technique later rose in popularity during the Heian period. In terms of painting, Buddhist works emulated the Chinese Tang style, which was characterized by elongated and rounded figures and broad brush strokes. Key works include: Todai Temple Complex with statue of the Great Buddha and Great Buddha Hall and Kofuku Temple.

Heian Period: The dates for the Heian period are believed to be 794- 1184 AD. This period is marked by the deviation from Chinese artistic models and the development of art specific to Japanese concerns. This art was highly supported by noble commissions. However, there were great social and political changes occuring during the Heian period, and it is necessary to look at Buddhist art in this context. Buddhism underwent changes as a new form of Buddhism rose in popularity: Amidism. This branch held that nirvana and entry to the Pure Land could be earned through a recitation before death and merit. There was also a new found emphasis on creating an adequate worship space. It was thought that the creation of these spaces and commissions would result in strong karma. A commonly commissioned work was the mandala, a roadmap of sorts to the cosmos. Mandalas came in twos, one rendering the phenomenal world while the other rendered the womb world. It was a common practice to meditate before the mandalas and to use them as a religious tool. Sculpture further developed from techniques of the late Nara period. Hyperrealism became popular in renderings of Buddha, deities, and priests. Hyperrealism is marked by an exaggeration of naturalistic features. Painting evolved during this period with depictions of hell and the Pure Land. Depictions of hell came into being as Japan entered the period of mappo - a time of mass chaos and disturbance. Conversely, images of the Amida Buddha descending from Heaven to collect the souls of those with good karma is known as raigozu and was a popular theme throughout the Heian period and was developed in the Kamakura period. Key works include: To Temple Mandala and Yakushi figures.

Kamakura Period: The dates of the Kamakura period are 1185- 1333 AD. This period is marked by the Gempei Wars - a civil war between two families over control of Japan. From these wars, there was a shift from civil aristocracy to a warrior class which would later take complete control of Japan in 1333. With this shift in power, there was a cultural shift in values (strength, discipline, austerity) which were in keeping with Zen Buddhism (holds that the only way to enlightenment is through meditation). During this period there was a national insecurity regarding the Mongols and a fear of invasion. This anxiety manifested itself in Buddhist art as there was a splurge in renderings of divine intervention and guardian figures. The technique in which this was done is known as Kamakura realism- an idealized focus on naturalistic features. Painting during this period has an extreme focus on mortality and immediacy. Scenes depicting Hell and the Pure Land continued in popularity in narrative scrolls. It was thought that commissioning, producing, and using these scrolls would improve ones karma. . Key works include: Sanjusangendo Temple, Hachiman in the guise of a monk, Chogen, Nio figures of Todaiji, The Priest Kuya, Zoshi’s Hell Scrolls, Jizo Raigo, Jeweled pagod mandala.

Zen Art: Zen Buddhism was introduced to Japan in the sixth century but gained popularity much later. The most iconographic figure in zen art is the meditating Daruma. Daruma was the Indian monk who founded this branch and served as the first zen patriarch. His is usually rendered with a cloak, beard, and tan. He is typically meditating (as meditation is central to zen buddhism) and without arms and legs. In addition, he is rendered with wide eyes as legend holds that he teared off his eyelids.

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