Eastern Painting
The history of Eastern painting includes a vast range of influences from various cultures and religions. Developments in Eastern painting historically parallel those in Western painting, in general a few centuries earlier. African art, Islamic art, Indian art, Chinese art, Korean Art, and Japanese art each had significant influence on Western art, and, vice-versa.
Chinese painting is one of the oldest continuous artistic traditions in the world. The earliest paintings were not representational but ornamental; they consisted of patterns or designs rather than pictures. Early pottery was painted with spirals, zigzags, dots, or animals. It was only during the Warring States Period (403-221 B.C.) that artists began to represent the world around them. Japanese painting is one of the oldest and most highly refined of the Japanese arts, encompassing a wide variety of genre and styles. The history of Japanese painting is a long history of synthesis and competition between native Japanese aesthetics and adaptation of imported ideas. The history of Korean painting is dated to approximately 108 C.E., when it first appears as an independent form. Between that time and the paintings and frescoes that appear on the Goryeo dynasty tombs, there has been little research. Suffice to say that until the Joseon dynasty the primary influence was Chinese painting though done with Korean landscapes, facial features, Buddhist topics, and an emphasis on celestial observation in keeping with the rapid development of Korean astronomy.
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Famous quotes containing the words eastern and/or painting:
“Should the German people lay down their arms, the Soviets ... would occupy all eastern and south-eastern Europe together with the greater part of the Reich. Over all this territory, which with the Soviet Union included, would be of enormous extent, an iron curtain would at once descend.”
—Joseph Goebbels (1897–1945)
“If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day; to paint the man, in short, as well as his features.”
—James Mcneill Whistler (1834–1903)