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Nevertheless, within the diversity discernible patterns and inclinations can be recognized and characterized as Japanese.
It provided Japan with an already well-established iconography and also offered perspectives on the relationship between the visual arts and spiritual development.
Notable influxes of Buddhism from Korea occurred in the 6th and 7th centuries.
(1906), he reached an even wider audience eager to find an antidote to the clanging steel and belching smokestacks of Western modernity.
Japan—and, writ large, Asia—was understood as a potential source of spiritual renewal for the West.
This book tells the story o Kichizaemon Raku English Beginning with the first-generation tea bowl master, Chojiro (-1589 ), the Raku family has a proud 430-year history of producing tea bowls for the tea ceremony.
This book contains a collection of full-color photographs of 206 works produced by the tea bowl masters of the Raku family from 1st-generation master Chojiro to 15th-generation Raku Kichizaemon (current family head) and his son, 16th-generation Raku Atsundo.
The Chinese Tang international style was the focal point of Japanese artistic development in the 8th century, while the iconographies of Chinese Esoteric Buddhism were highly influential from the 9th century.
Major immigrations of Chinese Chan (Japanese: Buddhist monks in the 13th and 14th centuries and, to a lesser degree, in the 17th century placed indelible marks on Japanese visual culture.
The aesthetic preference for refinement, for images subtly imbued with metaphoric meaning, reflected the sublimely nuanced court mores that permitted only oblique reference to emotion and valued suggestion over bold declaration.
Existing in tandem with the canonization of the Heian court aesthetic was the notion that the aesthetic sensibilities surrounding the tea ceremony were quintessentially Japanese.