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Western influence on japan
Chinese influence on japan
Western influence on japan
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From their eccentric music and sophisticated cuisine to their multiple examples of exciting pop culture, Japan is often renowned for its characteristic and traditional arts. Over the course of history, specifically during the Middle Ages, these arts began to thriving, and they continue to thrive to this day. The events in history surrounding these arts are correspondent to how these arts are put together, from literary techniques to borrowed concepts from other nations. Upon the wake of the Muromachi period in Japan, many art forms flourished in the nation; of these, the Noh theatre play, Kinuta, exemplifies the art of ritualism borrowed from Chinese dynasties.
This time in Japanese history, from 1336 to 1573, is normally referred to as the Muromachi or Ashikaga period, and was a prosperous time for the nation’s culture. Some say that this is because of political disintegration. The former Emperor of Japan, Go-Daigo, struggled to stay in power against the Kamakura bakufu, who succeeded in overthrowing him (Wallace). This caused two warring courts to emerge from 1336 to 1392: the Northern and Southern Courts. Literature from this era, “Essays in Idleness” by Yoshida Kenko, for example, generally expresses distaste for the rise of a warrior-ruled society. The shoguns, also known as the Ashigaka clan, which ran the nation, were questioned of their legitimacy. To increase their authority, they supported a cultural renaissance by attending plays and creating art (Wallace). The succeeding arts during this time were borrowed from Chinese Song, Ming, and Tang dynastic affairs (Wallace). Yoshimitsu, the reigning shogun in 1401, accepted a relationship with the Chinese that allowed Japan to acquire silk, books, coins (Wallace). Chinese lit...
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...tion and works that came before it and Kinuta is no exception. Chinese Tang music is specifically noted to have assisted the origination of Japanese theatre as a whole (Tian 343). Noh theatre was also influenced by the world around it. In a time of political chaos, the leaders of the country turned the peoples’ attention to popular cultural upbringings; Noh’s success and popularity in its origin was largely due to patronage from shoguns (Tian 356). Shoguns Takauji and Yoshitsune were well-known supporters of Noh, and Yoshitsune was a close friend of Zeami himself (Wallace). Even into the Tokugawa period (1600-1867), Noh was the official entertainment of the samurai class, an honorable society in Japan (Magill 2422). These instances in Japan prove not only that culture and tradition have an effect on the media, but ultimately that the world surrounding us does, also.
This became the era of the shogun empire and was the beginning of a new duel government in
Throughout history artists have used art as a means to reflect the on goings of the society surrounding them. Many times, novels serve as primary sources in the future for students to reflect on past history. Students can successfully use novels as a source of understanding past events. Different sentiments and points of views within novels serve as the information one may use to reflect on these events. Natsume Soseki’s novel Kokoro successfully encapsulates much of what has been discussed in class, parallels with the events in Japan at the time the novel takes place, and serves as a social commentary to describe these events in Japan at the time of the Mejeii Restoration and beyond. Therefore, Kokoro successfully serves as a primary source students may use to enable them to understand institutions like conflicting views Whites by the Japanese, the role of women, and the population’s analysis of the Emperor.
The Tokugawa period, also known as Edo period (1603-1867), was the final period of traditional Japan that lasted for more than 250 years (britannica.com,2013). The period was a time of internal peace, political stability, and economic growth under the Shogunate founded by Tokugawa Ieyasu. The Tokugawa Shoguns maintained strict control over the structure of society by keeping a firm control over what they were allowed to do and what they were not allowed to do.
Brazell, Karen. Traditional Japanese Theater: An Anthology of Plays. New York: Columbia UP, 1998. Print.
I believe that universally, theater is the concentration of passing down history, whether factual or mythical, to future generations paired with various degrees of artistic dignity. Like many other staged performances, the root of Noh is based off of a storytelling tradition, enhanced or exaggerated to be viewed by a wider audience. In the end, it was supposed to be somewhat entertaining, the viewer perhaps receiving a more dramatic interpretation of a past tale accompanied by dance, music, and visuals. In general, another characteristic not as significant from the original literatures and stories that seeps its way into Noh are the religious undertones and shrinking the distance between the world of the living and the world of spirits. In Zeami’s Atsumori, the play concerns characters from a scene in a probably already overdramatic depiction in Heike Monogatari, bringing in a single frame from Japanese military history into a different context. Sumidagawa has a slightly different way of coming into existence, since it does not depend so heavily on an exact picture from Ise Monogatari, and is only loosely associated with it. Nevertheless, both Atsumori and Sumidagawa have interesting ties to literature from earlier periods that make each unique in their presentation.
In the same way Japanese poetry often alludes to or derives from the canon of poetry that precedes it, noh plays are often based off of classical Japanese literary sources that form the framework for the play’s themes and moral message. Many of these plays reference poems from revered anthologies, such as the Shinkokinshū, within the play’s dialogue, but it is the monogatari or tales that provide the foundation for certain noh plotlines because of their vast array of character references and plotlines. These tales are the primary sources of information for two plays in particular written by the famous Japanese playwright Zeami: Atsumori and Matsukaze. The warrior-play Atsumori draws from the famous war epic The Tale of Heike to further an anti-war message grounded in the original text, as well as to further explore Buddhist themes of attachment and karmic ties. Matsukaze draws its origins and background from Murasaki Shikibu’s The Tale of Genji and Ariwara no Narihira’s The Tales of Ise for location, tone, and themes of longing in order to juxtapose the Buddhist duality of attachment and detachment from this world.
Japan is known for its unique gardening style, their diverse plants, their food, and their beautifully woven tapestries. Yet, most do not know about the history of their drama. Japanese Noh theatre is one of the most precise and prestigious art forms. It has been this way since the fourteenth century when Zeami first created Noh theatre. Zeami’s most famous plays, such as Kinuta, are still performed today. Japanese drama has not changed much since the fourteenth century because it has made a lasting effect on the culture. Noh theatre had a major influence on fourteenth century Japan and has affected modern day drama.
Japan has historically taken ideas from the United States on its business, merchandise, or other corporate sectors to improve within its political borders. These practices have become massive cultural and economic movements in Japan. Interestingly, Japan takes ideas and molds them into Japanese culture and style; therefore, these products are “Japanized.” To further elaborate on this statement, Japan has succeeded in its businesses and corporations such as the automobile industries around the world (for example, the NUMMI plant production transcended those of American automobile productions due to an enhanced Japanese corporate culture). Albeit many Japanese industries have roots in the United States, they have expanded globally. The music
During the Edo period, early 1600s, Japanese government set a place for entertainers, absolutely Geisha were included, it meant that they allowed to work only at the place where government has prepared for, called “Pleasure District” (Salvador, n.d, para. 7). First generation of Geisha were men, people belief that Female could not entertains in parties, these men kept the conversation going and gave performances. But after 1750, most of Geisha were female. Early female Geisha were dancers (Odoriko) or musicians who played Shamisen. They performed during dinner and entertained their customers at teahouse. The evolution of Geisha, from men to women, shows the changes of Japanese culture. Female became to have roles in society; they can educated and learned men’s job such as politic and business. Geisha got out of the male’s control which extremely important at that time, and created freely lifestyles.
By nature, Japanese No drama draw much of their inspiration and influence from the classics. Many are based on episodes from the most popular classics, like Atsumori, based on the Tale of Heike, or Matsukaze, which was actually based on a collage of earlier work. Even within these episodes do we find references to yet more classic works of literature, from the oldest collections of poetry to adopted religious texts. That isn’t to say that No is without its own strokes of creativity—the entire performance is a unique adaptation, and the playwrights had to be both highly educated in the classics, yet geniuses at the creative aspect of weaving song/poetry, dance, religion and literature together into a heart-wrenching spectacle.
The Heian period(794-1185), the so-called golden age of Japanese culture, produced some of the finest works of Japanese literature.1 The most well known work from this period, the Genji Monogatari, is considered to be the “oldest novel still recognized today as a major masterpiece.”2 It can also be said that the Genji Monogatari is proof of the ingenuity of the Japanese in assimilating Chinese culture and politics. As a monogatari, a style of narrative with poems interspersed within it, the characters and settings frequently allude to Chinese poems and stories. In addition to displaying the poetic prowess that the Japanese had attained by this time period, the Genji Monogatari also demonstrates how politics and gender ideals were adopted from the Chinese.
The Tokugawa Shogunate, Japan’s military dictatorship from 1603 to 1868, disliked this position of women and in 1629 they banned all women from acting on stage. However, Kabuki had become so popular that teenage boys started to act on stage to replace women, taking over all of their roles. In 1652, Kabuki featuring teenage boy, or Waskashu Kabuki, was banned. After that, only adult men could act on stage and this type of Kabuki, known as Yaro Kabuki, continues to be practiced today (www.artelino.com). In the 1750’s, the mawari-butai (revolving stage) was invented, and soon after that came the seri (stage trap) (Reischauer and Jansen 77). The mawari-butai is a machine cut out into the shape of a circle, which turns the part of the floor that is center stage. It is often used for scene changes to make them quicker, smoother and more appealing to the audience. The seri stage trap is used to raise and lower the actors and sets to the stage. It is also...
Art in Japan and art in the United States have their similarities and their differences, while also being viewed in different ways. Every work of art is unique in its own way. There are many different types of art, but each work of art has its own meaning. Depending on the eye of the beholder, a work of art can relate to you in many ways, and can be taken apart like a puzzle in your mind to understand the deeper aspect of it, while also deciphering its message. Others may not relate to the work, may only see the basic picture, and not understand the point or meaning of it. The same work of art can get opposite reactions, which shows that people have different ways of seeing the world that they live in.
Japan is a large island off to the east of China it is a great country that has a rich culture. The Japanese religion is based off of two main beliefs, the belief in Shinto and Buddhism many Japanese people believe consider themselves both. The Japanese people were known to be around as early as 4,500 B.C. They have constructed their government style to a constitutional monarchy where they do in fact have an emperor, but he has limited power within the country. The main power of the country is held by the Prime Minister of Japan. Japan is made up of many islands that extend along the Pacific coast of Asia. The land area is made up of a lot of forest and mountainous area that cannot be used for agricultural, industrial or residential use. Japan also has one of the largest and growing economies in the world. They are growing every day and it is all because the people of Japan work very hard in order for their economy to flourish as it has.
Japan is a fascinating multifaceted culture, on one hand it is filled with many traditions dating back thousands of years and yet is a society with continually changing fads,