Consistent With The Ink Paintings example essay topic

The Muromachi style of Zen Buddhism has influence art and design ever since it's beginning in the 14th century. Although it was influenced by the Chinese styles at a parallel time, they both are still influential and noticed in today's world. For years Japanese Ink Painting continued to be consistent with a basis on nature, and simplicity. Was the beginning of Minimalism in Japan? Was it intentional?

The open composition of space and content on paper is a key of today's design. The simplicity of monochromatic work is still appreciated in almost every art form. This is a contrast to the Renaissance that occurred during the same time period. There was never work similar in Europe, it was mostly elaborate and colorful. This proves that the Asian styles are the origin of minimalism. Even in architecture and landscape, there was interpretation and consistence of nature.

The "Zen Garden" is a key concept that has lasted through the years. The Japanese styles of architecture were inspired by the consistency and simplicity of nature. They were the first to incorporate outside and inside, using a lot of patio space, and open surfaces, using round posts, and hinged translucent walls (Japan, 229). The dominant styles of the Muromachi Period, Ink Painting, Landscape, and Architecture, are visible in today's society in all cultures. Design fields incorporate the same appreciation that the Zen Buddhists did. Aesthetics, the set of principles of good taste and the appreciation on beauty, especially in the philosophy of art (Reader's, 26).

During the Muromachi Period, Sesshu (1420-1506) was known as the most famous artist in his medium of Ink Paintings. He was a monk that dedicated his life to painting. He traveled to areas of China and the natural landscape inspired his work heavily. He denied any influence from the Chinese art he saw on his journey. Like the work of Ni Zan (1308-1374), a Chinese Yuan Dynasty ink painter. (History, 842-861) Sesshu's most noted work was the "Winter Landscape".

This painting was done after his excursion through China, in the 1467. It is 18.25 x 11.5" in size, and was produced by rushing black ink on a paper. It is overlapped view of a landscape in the foreground, with large mountainous cliffs as a stable background. The layers provide a depth and point of view.

There is a monk walking a series of steps and paths towards a simple monastery at the base of the cliffs. The monochromatic tones, and vivid, thick lines provide a lot of contrast. It uses washed tints for more texture on the rock surfaces and shadowed areas, and leaves the paper clean where snow and space are depicted. The planar view divides the foreground, while the jolt in the cliffs split the entire upper half of the painting.

This provides a stability and balance to the work. As in most works of this time, he is expressing the simplicity and serenity of the landscape, which is a parallel to the intended lifestyle of a monk. It is very particular to their culture in the Zen Buddhism was an important theory of that time. Although, some aspects of the work might be claimed to have been influenced by the Chinese practices of the same genre. Ni Zan, and Yuan painter from China, created the "Rongxi Studio" painting, the most famous piece of his time. The monochromatic ink painting was very personalized to Ni Zan's self.

He was a very carefree individual. He was very careless in his depiction of his homeland's natural scenery. Contrary to styles of that time, he was not intending on satisfying any viewer. He solely wanted to paint, and the brush, ink, and paper were free in his hands. The "Rongxi Studio" painting was done in 1372, and is a hanging scroll. Its height is around 30", and is ink on paper.

It depicts a subtle scene of layers in a foggy swampy landscape, with a hilly area in the background. These layers provide a depth perception to the piece. It is very loose, and passive. There aren't any intense contrast changes, and are mostly odd formations of shape representing hills, water, and clouds. The artist had no intent of satisfying any type of depiction.

It is solely a painting of enjoyment where the scenery was available for inspiration. The artist almost mocks society, in that he doesn't give them what they are asking for, meaning. Ni Zan's own intellect and need to be different are the key influences of the work. The work is successful in that its likeness has been produced over and over again throughout the years. Sesshu's 'Winter Landscape" and Ni Zan's "Rongxi Studio" paintings are very similar in that they are both monochromatically, layered, landscape paintings.

Sesshu uses a lot more emphasis on his contrast and lines, giving off a more intrusive appeal. There is definitely expression and meaning behind the "Winter Landscape". Where as Ni Zan had no concerns nor cared to express anything. This was in direct contrast with what the viewers wanted. He had a passiveness with his brushstrokes and washes of inks. As if there was no focal point to the work.

Although, Sesshu may have been influenced by the work of Chinese artisans, such as Ni Zan, his work is adaptive and unique in his meaning and purpose. It is a very successful piece and is uniquely presented. Ni Zan set a basis for many artists of this genre to adapt to. His work achieved his goal of "no goals". He intended for nothing to happen and he was dead on. His work has almost a pattern aspect to it.

Giving no true definition. Ink Paining is an expressive medium that has been beneficial throughout the ages as a foreground for minimalism and simplistic theories. It has impacted the world of design and architecture and will continue to be a basis in these fields. The Muromachi Period was influenced by the insertion of the Zen Buddhist's idealism. Initially Zen theory was not well approved in Kyoto's political spectrum. It eventually spread through the mainstream, and eventually was diluted by the shogun's application of it.

True Zen Buddhists appreciated life, art, and self-awareness. They sought enlightenment. The style of Zen was to replicate the ideals of their presence, and nature, through landscape paintings that were highly influenced by Chinese styles. They made them to pay homage to nature and serenity. Ink Painting was the dominant art form through this period, accompanied by poetry. At first by the monks, then the population commercialized it for profit.

One of the most important artists of the Muromachi period was Ikkyu (1394-1481). He was famous for his realization of the distortion of Zen. He said, "The temples are rich but Zen is declining, there are only false teachers, no true teachers (History, 861)". At first Zen was the counterculture, and now society had exploited it, and Ikkyu was not satisfied, that it was popular demand. And society had made an industry of it.

Few true Zen masters avoided involving themselves with politics (History, 861). Ikkyu was a noted in all the art forms, but his calligraphy stood out. His eccentricity almost mocked society and the popular "Zen". His spontaneity was unique in that calligraphy was a precise and stern practice.

"Calligraphy Pair" was a set of scrolls on which he painted a traditional Buddhist couplet, "Abjure evil, practice on the good". He began with a precise pattern that calligraphy was intended for, and then began to be more loose and free with the brush and ink until it never left the paper surface. This was a minor effort at rebellion toward the constant and na " ive-ness of society (History, 861). The scrolls were stretched vertically, with a side-by-side composition. At the top the Brush strokes are defined and precise, and as the page unveils, his strokes become more free and swoosh y. The piece is a personal outburst against society's idealism.

It is extremely powerful in context. Another specific work in a different genre was the Temple of Ryo an-ji, in Kyoto. This was an extremely pivotal creation of the Zen Monks. Its "Dry Garden" has dumbfounded many to this day at its actual inspiration. Yet it has been pivotal in that it possibly initiated the art of "Feng-Shue". The art of placement.

The garden consists of walls on the south and west sides, and temple patios at the north and east. It is in a long rectangular composition, with a series of 15 stones uniquely place among a surface of white gravel. It is very minimalist, in content. Some attempt to explain the composition, but there is no definite explanation or rationale for the work.

It is consistent with the ink paintings, in that it is simple, asymmetrical, and minimal in color. It is influenced by the materials of nature and serenity of existence. It is a distinguishing placement that has influenced minimalist design, architecture, and landscape (History, 862). The Muromachi Period was a mix of "True Zen" and a glorified version of the same. So many of the works influence today's styles. Even thought the Zen concept was not meant to become popular.

It initiated the professionalization of the arts that diluted its relevance and meaning. The Muromachi Period was a time of influence and realization. The commercialization of the arts really polluted all meaning behind it. This is a dramatic time in which the true Zen Monks doubted their faith in the work they produced. The understanding of this, left room for sarcasm, and criticism, and eventually dilution of the Zen theories of nature and serenity. Put aside the debauchery of the art, this period has influenced so many cultures and design styles.

It is key that styles like minimalism and even constructivism trace back to the monochromatic layout of image and text these monks produced. Being a designer, it is astonishing to relate styles that I apply to work with these simple Buddhists. They lived a simple lifestyle, appreciating materials and imagery that both were provided by nature. The aesthetics applied is an important way of expressing yourself as a citizen of the world. It is important that we as people seek to make the world better for mankind. Appreciating the elements, and applying workable solutions was a key contribution these monks made to society.

Whether it is through our work or our deeds, it would be ideal that we all follow their example.