In the middle of the VI century of the Christian era, Buddhism was introduced into Japan by way of Korea. Through the vehicle of this new religion, Chinese art began to exert a fructifying influence upon the native art of Japan, which up to this time had achieved nothing worthy of mention. Chinese influence continued in succeeding ages a potent factor in the development of Japanese art. In the art of the Suiko (552-644), Hakuho (645-709), Tempyo (710-793), Jogan (794-899), and Fujiwara (900-1190) periods, the inspiration was largely Chinese, but more and more the native genius manifested itself in modifications of the spirit and technique. This evolution toward a distinctive national art and culture made considerable advances in the Fujiwara period, which ended in social revolution and the establishment of a military vice-royalty at Kamakura.
The Kamakura period (1190-1337) is the feudal era of Japan. The spirit of individualism and hero-worship which distinguishes this age brought about a great development in portraiture, even the gods assuming a more individualized character. Battle scenes and the achievements of famous warriors and heroes were popular subjects. To overawe the populace, religious artists for the first time pictured the horrors of hell. Forceful delineation and the vigorous expression of action are characteristic of Kamakura art.
Zenism, a metaphysical doctrine introduced from China to Japan in the Kamakura period, had a very great influence in the succeeding Ashikaga period (1337-1582) in shaping the course of art. The Zen sect of Buddhism, discarding ritual, sought salvation through self-concentration and meditation. Subjective idealism and the search of the inner spirit of things, fostered by Zenism, led the Ashikaga artists to practice a rigorous economy of means, eliminating color in general and all details not essential to the expression of the artist's idea. The search for the hidden beauty [pg 13] in all things was not confined to the major arts but led to the beautification of the humblest household utensils. In the ornamentation of sword guards the metal workers showed extraordinary ability. The Ashikaga era ended in turmoil. In 1582 Toyotomi Hideyoshi, a man of the humblest origin, brought order out of chaos, and became virtual ruler over a unified Japan.
Under the patronage of Hideyoshi and his ennobled generals, the sober refinement of Ashikaga art gave way to gorgeous decoration, resplendent with gold and brilliant colors, that shows the influence of the mature Ming style of China. The leading artist of this period in Japan was Yeitoku (1543-1590), who with his numerous pupils painted sumptuous decorations for the palaces of the wealthy nobles. By Yeitoku are the two large screens illustrated above. This artist created perhaps the greatest purely decorative style of painting that the world has ever known.
After the death of Hideyoshi in 1602, Iyeyasu founded the Tokugawa Shogunate (1603-1867). During the long “Tokugawa peace” various schools of art developed. Koetsu (d. 1637) and his great followers, Sotatsu (middle XVIII century) and Korin (d. 1716), established the so-called Korin school, seeking to combine the rich coloring of pre-Ashikaga days with the bold treatment of the Zen school. Kano Tanyu and his followers attempted to return to the purity of the Ashikaga masters, but met with only partial success. Patronage was largely in the hands of a prosperous middle class who demanded something more easily understood than the aristocratic art of the earlier periods. To meet this demand a more democratic school arose, and many gifted artists through their paintings of popular festivals and other familiar scenes prepared the way for the Ukiyo-e, or school of common life. Under the inspiration of this popular school, the art of printing in colors from wood blocks was brought to a high state of perfection. Little original work of any importance has been produced in Japan since the Restoration in 1868.
