Halayen fasahar Jafananci, juyin halitta, iri da ƙari

A matsayin tsohuwar al'ada, Japan ta nuna fasaharta a duk waɗannan shekarun, koya tare da mu ta wannan labarin mai ban sha'awa, duk game da tsoho Arte Jafananci, ci gaba na tsawon lokaci a lokuta da salo daban-daban. Kada ku rasa shi!

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fasahar Japan

Lokacin da muke magana game da fasahar Jafananci muna magana ne game da abin da wannan wayewar ta sanar a tsawon lokaci a matakai daban-daban da salo, waɗanda aka buɗe na ɗan lokaci tare da ci gaban zamantakewa da al'adu na mutanen Japan.

Bambance-bambancen da fasaha a Japan ke fuskanta shi ne sakamakon ci gaban fasaharta, inda za mu iya fahimtar amfani da albarkatun kasa a cikin maganganun fasaha. Kazalika abin da ake kira fasahar Yammacin Turai, mafi yawan maganganunta na alama sun shafi addini da ikon siyasa.

Ɗaya daga cikin manyan halaye na fasahar Jafananci shine eclecticism, wanda ya fito daga al'ummomi da al'adu daban-daban da suka isa bakin tekun na tsawon lokaci: mazaunan farko da suka zauna a Japan - wanda aka sani da Ainu - sun kasance na reshen Arewacin Caucasian da Gabashin Asiya, mai yiwuwa. Ya isa lokacin da har yanzu Japan ke makale da babban yankin.

Asalin waɗannan mazauna ba shi da tabbas, kuma masana tarihi suna la'akari da hasashe iri-iri, daga jinsin Ural-Altaic zuwa asalin Indonesiya ko Mongolian mai yiwuwa. A kowane hali, al'adun su ya yi kama da Upper Paleolithic ko Mesolithic.

Bayan haka, kungiyoyi daban-daban na 'yan kabilar Malay daga kudu maso gabashin Asiya ko tsibirin Pasifik sun isa gabar tekun Japan, da kuma Koriya da sassa daban-daban na kasar Sin, sannu a hankali an bullo da su daga kudancin kasar, lamarin da ya raba yankin Ainu. arewacin kasar Japan, yayin da daga baya, kabilu daban-daban daga Sin da Koriya suka zo kasar Japan.

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To wannan kabilanci mix dole ne a kara da tasiri na sauran al'adu: saboda ta insularity, Japan aka ware domin da yawa daga cikin tarihi, amma a tazara da shi an rinjayi da babban yankin wayewar, musamman Sin da Koriya, musamman tun V karni.

Don haka, al'adun kakannin kakannin Jafan da suka fito daga mashigin shige da fice na jere sun kara wani tasiri na kasashen waje, da samar da fasahar fasahar bude ido ga kirkire-kirkire da ci gaba mai salo.

Har ila yau, yana da ban sha'awa a lura cewa yawancin fasahar da aka samar a Japan sun dogara ne akan addini: zuwa addinin Shinto na yankin, wanda aka kafa a kusan karni na farko, an ƙara addinin Buddha a kusan karni na XNUMX, yana haifar da haɗin kai na addini wanda har yanzu yana dawwama. ya kuma bar tunaninsa a cikin fasaha.

Sana'ar Jafananci ita ce sakamakon waɗannan al'adu da al'adu daban-daban, tana fassara ta hanyarta nau'ikan fasahar da ake shigo da su daga wasu ƙasashe, waɗanda suke cimma daidai da tunaninta na rayuwa da fasaha, aiwatar da canje-canje tare da sauƙaƙe halayensa na musamman.

Kamar fitattun gidajen ibada na addinin Buddah na kasar Sin, wadanda a kasar Japan suka bi ta kan wani ma'auni na yin watsi da wasu fasahohin fasaharsu tare da hada su da wasu, wannan ya nuna irin dabi'ar hadin gwiwar wannan fasaha, ta yadda a dabi'ance ta dauki wani abu daga wata al'ada. na sauran kasashe.

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Fasahar Jafananci tana da a cikin al'adun Jafananci babban tunani na tunani da alaƙar da ke tsakanin mutum da yanayi, kuma ana wakilta a cikin abubuwan da ke kewaye da shi, daga mafi ƙayatarwa da ƙarfafawa zuwa mafi sauƙi da yau da kullun.

Wannan yana bayyane a cikin ƙimar da aka ba da rashin daidaituwa, yanayin yanayin abubuwa, jin daɗin jin dadin jama'a wanda Jafananci ya kafa tare da yanayin su. Kamar dai yadda a cikin bikin shayi, suna daraja kwanciyar hankali da kwanciyar hankali na wannan yanayin tunanin da suke samu tare da al'ada mai sauƙi, bisa ga sassa masu sauƙi da kuma jituwa na sararin samaniya da ba a gama ba.

A gare su, zaman lafiya da daidaituwa suna hade da dumi da jin dadi, halayen da ke nuna ainihin tunanin su na kyau. Ko a lokacin cin abinci, ba adadin abinci ba ne ko gabatarwar sa ke da muhimmanci ba, amma hangen nesa na abinci da kyakkyawar ma'anar da yake bayarwa ga kowane aiki.

Hakazalika, masu fasaha da masu sana'a na wannan ƙasa suna da kyakkyawar alaƙa da aikinsu, suna jin kayan a matsayin wani muhimmin bangare na rayuwarsu da kuma sadarwa tare da yanayin da ke kewaye da su.

Tushen fasaha na Japan

Sana'ar Jafananci, kamar sauran falsafarta - ko kuma, a sauƙaƙe, hanyar ganin rayuwa - tana ƙarƙashin hankali, rashin hankali, magana mai daɗi da sauƙi na ayyuka da tunani. sau da yawa ana bayyana su ta alama.

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Biyu daga cikin siffofi na musamman na fasahar Jafananci sune sauƙi da dabi'a: maganganun zane-zane suna nuna dabi'a, don haka ba sa buƙatar samar da ƙwarewa, duk wannan yana haifar da gaskiyar cewa abin da masu fasaha ke so shi ne abin da aka zayyana, ya ba da shawara, za a warware shi daga baya. ta mai kallo.

Wannan sauƙi ya haifar da zana hali zuwa zane na layi, ba tare da hangen nesa ba, tare da ɗimbin sarari mara komai, wanda duk da haka yana haɗuwa cikin jituwa cikin gaba ɗaya. A cikin gine-ginen, yana samuwa a cikin zane-zane na layi, tare da jiragen sama na asymmetric, a cikin haɗuwa da abubuwa masu mahimmanci da kuma a tsaye.

Bi da bi, wannan sauƙi a cikin fasahar Japan yana da alaƙa da sauƙi na asali a cikin dangantaka tsakanin fasaha da yanayi, wanda wani ɓangare ne na wawancinsu, wanda ke nunawa a cikin rayuwarsu, kuma suna fuskantar shi tare da jin dadi na jin dadi, kusan bakin ciki.

Yadda shuɗewar yanayi ke ba su ma'anar gushewa, inda za ku ga juyin halitta da ke wanzuwa a cikin yanayi saboda yanayin yanayin rayuwa. Wannan sauƙi yana nunawa sama da duka a cikin gine-ginen, wanda ke haɗuwa da jituwa a cikin kewayensa, kamar yadda aka nuna ta hanyar amfani da kayan halitta, ba tare da aiki ba, yana nuna rashin tausayi, bayyanar da ba a gama ba. A Japan, yanayi, rayuwa, da fasaha suna da alaƙa da juna, kuma nasarar fasaha alama ce ta dukan duniya.

Fasahar Jafananci tana neman cimma jituwa ta duniya, ta wuce kwayoyin halitta don nemo ka'idar samar da rayuwa. Kayan ado na Jafananci yana neman samun ma'anar rayuwa ta hanyar fasaha: Kyakkyawan fasahar Jafananci yana daidai da jituwa, kerawa; sha’awa ce ta waka, hanya ta azanci da ke kai ga gane aikin, wanda ba shi da iyaka, sai dai ya wuce.

Abin da muke kira kyakkyawa nau'in falsafa ne wanda ke nuni da mu zuwa wanzuwa: yana rayuwa cikin isar da ma'ana tare da duka. Kamar yadda Suzuki Daisetsu ya bayyana: "kyakkyawa ba a cikin sigar waje ba, amma a cikin ma'anar da aka bayyana."

Art ba ya farawa da halayensa masu hankali, amma tare da halayensa masu ban sha'awa; Ba dole ba ne ya zama daidai, amma nuna kyauta wanda ke kaiwa ga cikakke. Yana da nufin ɗaukar mahimmanci ta wannan ɓangaren, wanda ke ba da shawarar gabaɗaya: ɓatanci ya dace da Jafanan da ke akwai.

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A cikin tunanin gabas, akwai haɗin kai tsakanin kwayoyin halitta da ruhi, wanda ke rinjaye cikin tunani da tarayya da yanayi, ta hanyar riko da ciki, na hankali. Fasahar Jafananci (gei) tana da ma'ana mai wuce gona da iri, wacce ba ta da ma'ana fiye da manufar amfani da fasaha a Yamma: ita ce duk wani bayyanar da hankali, wanda aka fahimta azaman makamashi mai mahimmanci, azaman jigon da ke ba da rai ga jikinmu wanda a zahiri yana tasowa kuma yana tasowa, yana fahimtar haɗin kai tsakanin jiki, tunani da ruhi.

Ma'anar fasahar Jafananci ta ci gaba a tsawon lokaci: tun daga farkonsa inda alamun farko na fasaha da kyau suka wanzu, sun kasance tun zamanin da lokacin da aka ƙirƙira ka'idodin ƙirƙira na al'adun Japan da waɗanda aka bayyana a cikin muhimman ayyukan wallafe-wallafe. kasar:

Kojiki, Nihonshoki da Man 'yōshū, abubuwan da ke sama su ne wallafe-wallafe, na biyu na farko game da ayyukan farko na tarihin Japan kuma na karshe game da wakoki da aka rubuta a cikin karni na farko, don wannan lokacin tunanin Sayashi ya yi nasara ("tsarki , tabbata, sabo”), yana nuni da wani nau’in kyawu da ke tattare da sauki, sabo, wani nau’in butulci da ke zuwa da amfani da haske da kayan halitta irin su Haniwa Figure Land ko itace a cikin gine-gine.

Za mu iya rarraba Wurin Ise a matsayin mafi kyawun wakilci na wannan salon, wanda aka yi da itacen cypress, wanda aka gyara kowace shekara ashirin tun daga karni na XNUMX don kula da gaskiyarsa da sabo. Daga wannan ra'ayi ya taso daya daga cikin abubuwan da suka dace na fasahar Japan: ƙimar da aka danganta da ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun lokaci.

A cikin Man yoshū, sayakeshi ya bayyana cikin sha’awar kasancewa da aminci da gwadawa, da kuma bayanin yadda abubuwa kamar sama da teku suka ba shi yanayin girma da ya mamaye mutum.

Sayakeshi yana da alaƙa da ra'ayi na Naru ("zama"), a cikin abin da lokaci ke da daraja a matsayin makamashi mai mahimmanci wanda ke haɗuwa da zama, a cikin ƙarshen dukan ayyuka da dukan rayuwa.FARKON JAPAN

Da yake sanya kanmu a zamanin Nara da Heian, fannin fasaha na fasaha ya sami bunƙasa cikin sauri saboda tuntuɓar farko da al'adun Sinawa, da kuma zuwan addinin Buddha. Babban ra'ayi na wannan zamani shine lamiri, jin dadi wanda ya mamaye mai kallo kuma yana haifar da jin tausayi ko tausayi.

Yana da alaƙa da wasu kalmomi kamar okashi, wanda ke jan hankali tare da farin ciki da halayensa masu daɗi; omoshiroi, dukiya na abubuwa masu annuri, waɗanda ke jan hankali ta hanyar haskakasu da tsayuwarsu; yubi, ra'ayi na alheri, na ladabi; yuga, ingancin gyare-gyare a cikin kyau; da en, jan hankali na laya; sarki, kyawun nutsuwa; yasashi, kyawun hankali; da ushin, zurfin ma'anar fasaha.

Labarin Murasaki Shikibu na Genji, wanda ya ƙunshi sabon ra'ayi na ado da ake kira mono-no-awareness - kalmar da Motori Norinaga ya gabatar, wanda ke ba da ma'anar raɗaɗi, bacin rai na tunani wanda ya samo asali daga jujjuyawar abubuwa, kyakkyawa mai gushewa wanda ke daɗe da ɗan lokaci ya kasance a cikin ƙwaƙwalwar ajiya.

Amma sama da duka yana da jin ƙanƙara mai laushi wanda zai iya haifar da baƙin ciki mai zurfi lokacin da zurfin jin fitar da kyawun dukkan halittun yanayi.

Wannan falsafar "madaidaicin bin" kyakkyawa, yanayi mai tunani inda tunani da duniyar hankali ke haduwa, yana da halayyar dabi'ar dabi'ar Jafananci don kyakkyawa, kuma ta bayyana a cikin bikin Hanami, bikin bishiyar ceri a cikin fure.

A cikin Tsakiyar Tsakiyar Jafananci, zamanin Kamakura, Muromachi da Momoyama, inda yanayin ya kasance mulkin soja a cikin dukkanin al'ummar feudal na kasar, manufar do ("hanya") ta fito, wanda ya haifar da ci gaban fasaha na wannan lokacin. , ana nuna shi a cikin al’adar biki na al’ada, kamar yadda shodō (caligraphy), chado (bikin shayi), kado ko ikebana (da fasahar tsara furanni), da kuma kodo (bikin turare).

Ayyukan ba su da mahimmanci sakamakon, sai dai tsarin juyin halitta, juyin halitta a cikin lokaci - sake naru - da kuma basirar da aka nuna a cikin cikakkiyar aiwatar da ayyukan ibada, wanda ke nuna fasaha, da kuma sadaukar da kai a cikin ruhaniya. neman kamala.

Bambancin addinin Buddha da ake kira Zen, wanda ke jaddada wasu "dokokin rayuwa" bisa ga tunani, inda mutum ya rasa sanin kansa, yana da tasiri mai mahimmanci akan waɗannan sababbin ra'ayoyin. Don haka, duk aikin yau da kullun ya zarce ainihin abinsa don nuna alamar ruhaniya, wanda ke nunawa a cikin motsi da al'ada na lokaci.

Wannan ra'ayi kuma yana nunawa a cikin aikin lambu, wanda ya kai irin wannan matsayi na mahimmanci inda lambun shine hangen nesa na sararin samaniya, tare da babban fanko (teku) wanda ke cike da abubuwa (tsibirin), wanda ke cikin yashi da duwatsu. , da kuma inda ciyayi ke haifar da wucewar lokaci.

Haɗin kai na Zen tsakanin sauƙi da zurfin rayuwa mai wuce gona da iri yana haifar da ruhin "saukin ladabi" (wabi) ba kawai a cikin fasaha ba, har ma a cikin ɗabi'a, dangantakar zamantakewa, da ƙarin abubuwan yau da kullun na rayuwa. . Jagora Sesshū ya ce "Zen da fasaha ɗaya ne."

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An gabatar da wannan Zen a cikin abubuwa bakwai na kayan ado: fukinsei, hanyar ƙin haɓakawa don cimma daidaito a cikin yanayi; kanso , cire abin da ya rage kuma abin da kuka fitar zai sa ku gano saukin yanayi.

Koko (mutum na kaɗaici), wani ingancin da mutane da abubuwa ke samu a kan lokaci kuma suna ba su mafi girman tsarkin ainihin su; shizen (na halitta), wanda ke da alaƙa da ikhlasi, na halitta yana da gaske kuma ba ya lalacewa; yugen (zurfin), ainihin ainihin abubuwan, wanda ya wuce abinsu mai sauƙi, kamannin su na sama.

Datsuzoku (detachment), 'yanci a cikin aikin fasaha, wanda aikinsa shine yantar da hankali, ba sarrafa shi ba - don haka, fasaha yana ba da kowane nau'i na sigogi da dokoki -; seiyaku (natsuwar ciki), a cikin yanayi na natsuwa, natsuwa, wajibi ne ga ka'idodin da suka gabata guda shida su gudana.

Musamman bikin shayi ne, inda aka haɗa ra'ayin Japan na fasaha da kyan gani da kyau, yana haifar da ingantaccen addini na ado: "theism". Wannan bikin yana wakiltar al'adar kyawawan dabi'un da ke adawa da lalatar rayuwar yau da kullum. Falsafarsa, duka na ɗabi'a da ɗabi'a, tana bayyana ainihin tunanin mutum tare da yanayi.

Sauƙin sa yana haɗa ƙananan abubuwa tare da tsarin sararin samaniya: rayuwa magana ce kuma ayyuka koyaushe suna nuna tunani. Na ɗan lokaci yana daidai da na ruhaniya, ƙarami shine babba. Hakanan ana samun wannan ra'ayi a cikin ɗakin shayi (sukiya), samfurin gini na al'ada na sha'awar waƙar waƙa, ba tare da ƙaya ba, inda ake girmama ajizai, kuma koyaushe yana barin wani abu. ba a gama ba, wanda zai cika tunanin.

Rashin daidaituwa shine halayyar, saboda tunanin Zen cewa neman kamala yana da mahimmanci fiye da kanta. Za a iya gano kyakkyawa kawai ta waɗanda suka kammala ta hanyar tunanin abin da ya ɓace.

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A ƙarshe, a cikin zamani na zamani - wanda ya fara da lokacin Edo-, duk da cewa ra'ayoyin da suka gabata sun ci gaba, an gabatar da sababbin nau'o'in fasaha, waɗanda ke da alaƙa da fitowar wasu ka'idojin zamantakewa da suka taso kamar yadda Japan ta sabunta: sui wani nau'i ne na ruhaniya, an samo shi. musamman a cikin adabin Osaka.

Iki tunani alheri ne mai girma kuma kai tsaye, musamman a kabuki; Karumi ra'ayi ne da ke kare haske a matsayin wani abu na farko, wanda a karkashinsa ake samun "zurfin" abubuwa, musamman a cikin waƙar haiku, inda Shiori ya kasance kyakkyawa mai ban sha'awa.

"Babu wani abu da yake dawwama, babu abin da yake cikakke kuma babu abin da yake cikakke." Waɗannan za su zama maɓallai guda uku waɗanda "Wabi sabi" ya dogara da su, furcin Jafananci (ko nau'in hangen nesa na ado) wanda ke nufin kyawawan marasa kyau, rashin cikawa da canzawa, ko da yake yana nufin kyawawan dabi'u. masu tawali'u da tawali'u, marasa al'ada. Falsafar “wabi sabi” ita ce jin daɗin halin da ake ciki da samun kwanciyar hankali da jituwa cikin yanayi da ƙananan abubuwa cikin lumana da yarda da yanayin girma da koma baya cikin lumana.

Ƙarƙashin duk waɗannan abubuwan shine ra'ayin fasaha a matsayin tsari mai ƙirƙira kuma ba a matsayin nasarar kayan aiki ba. Okakura Kakuzō ya rubuta cewa "masu zane-zane ne kawai waɗanda suka yi imani da yaƙe-yaƙe na ruhin su ne ke iya samar da kyawun gaske".

Tsawon lokaci na fasahar Jafananci

A cikin wannan labarin, za mu yi amfani da rarrabuwa zuwa manyan lokuta dangane da fitattun sauye-sauye na fasaha da ƙungiyoyin siyasa. Zaɓin gabaɗaya ya bambanta bisa ga ƙa'idodin marubucin, kuma yawancin su kuma ana iya rarraba su. Koyaya, akwai kuma bambance-bambance game da farawa da ƙarshen wasu lokuta. Za mu dauki wanda masanin kayan tarihi Charles T. Kelly ya yi, wato kamar haka:

Fasahar Jafananci a cikin fasahar filastik

A lokacin Mesolithic da Neolithic, ya kasance keɓe daga nahiyar, don haka duk abin da ya samar ya kasance nata, kodayake ba shi da mahimmanci. Sun kasance al'ummomi masu zaman kansu, suna zaune a cikin ƙananan ƙauyuka da gidaje da aka tona a cikin ƙasa, suna samun albarkatun abincin su musamman daga dajin (barewa, boar daji, goro) da kuma teku (kifi, crustaceans, namomin ruwa).

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Waɗannan al'ummomin suna da ƙayyadaddun tsarin aiki kuma sun damu da auna lokaci, kamar yadda aka tabbatar da saura da yawa na shirye-shiryen da'ira na dutse a Oyu da Komakino, waɗanda suka yi aiki a matsayin rana. Da alama suna da daidaitattun raka'o'in ma'auni, kamar yadda aka tabbatar da gine-gine da yawa da aka gina zuwa wasu samfura.

A wasu wuraren da suka yi daidai da wannan lokacin, an sami goge gogen dutse da kayan kasusuwa, tukwane da sifofi na anthropomorphic. Ya kamata a lura cewa tukwane na Jōmon ita ce tukwane mafi dadewa da mutum ya yi: farkon alamun tukwane na asali tun daga 11.000 BC, a cikin ƙanana, kayan aikin hannu tare da goge gefe da manyan ciki. , tare da ma'anar aiki da kayan ado mai ban sha'awa.

Wadannan ragowar sun yi daidai da lokacin da ake kira "prejōmon" (11000-7500 BC), sannan kuma "archaic" ko "farkon" Jōmon (7500-2500 BC), inda aka yi tukwane na Jōmon da aka fi sani, da hannu kuma aka yi ado. tare da inciss ko burbushin igiya, a kan wani tushe na wani nau'i mai zurfi mai siffar tulu. Ado na asali ya ƙunshi kwafin da aka yi da igiyoyin zaruruwan kayan lambu, waɗanda aka danna kan tukwane kafin a harbe shi.

A wurare da yawa waɗannan ɓangarorin sun kai matsayi mai girma na bayani, tare da gefuna masu tsinke, suna zana jerin layukan da ba za a iya gani ba. A wasu lokatai da ba kasafai ba, an sami ragowar al'amuran almara, gabaɗaya zane-zane na ɗan adam da na zoomorphic (kwadi, macizai), suna nuna wurin farauta da ke cikin wata farauta da aka samu a Hirakubo, arewacin Honshū.

A ƙarshe, a cikin "Late Jōmon" (2500-400 BC), tasoshin sun sake komawa zuwa yanayin da ya fi dacewa, ƙananan nau'i, tare da kwanuka da tasoshin zagaye-zagaye, amphorae kunkuntar wuyansa, da kwano mai rikewa. sau da yawa tare da sanduna. ko daga tushe. Alamun tukwane na Jōmon sune: Taishakukyo, Torihama, Togari-ishi, Matsushima, Kamo, da Okinohara akan tsibirin Honshū; Sobata a tsibirin Kyūshu; da Hamanasuno da Tokoro a tsibirin Hokkaidō.

Baya ga vases, an yi wasu siffofi na mutum ko dabba a cikin yumbu, an yi su a sassa da yawa, don haka an sami ragowar guntu guda kaɗan. Wadanda ke cikin siffar anthropomorphic na iya samun halayen namiji ko na mata, kuma an sami wasu daga cikin alamar androgynous.

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Wasu sun kumbura ciki, don haka ƙila ana danganta su da bautar haihuwa. Ya kamata a lura da daidaitattun cikakkun bayanai da wasu alkaluma suka nuna, irin su gashin gashi mai hankali, tattoos da riguna masu ado.

Da alama a cikin wadannan al'ummomi ado na jiki yana da matukar muhimmanci, musamman a cikin kunnuwa, da 'yan kunne na yumbura na masana'anta daban-daban, waɗanda aka yi wa ado da rini masu launin ja. A Chiamigaito (Honshū Island) an samo fiye da 1000 na waɗannan kayan ado, suna ba da shawarar wani taron bita na gida don haɓaka waɗannan samfurori.

Masks daban-daban kuma suna kwanan wata daga wannan lokacin, wanda ke nuna aikin keɓantacce akan fuskoki. Hakazalika, an yi nau'o'in nau'in koren jadeite beads, kuma sun saba da aikin lacquer, kamar yadda aka tabbatar da yawancin fasteners da aka samu a Torihama. Haka kuma an samu ragowar takubba, kasusuwa ko tururuwa na hauren giwa.

Zaman Yayoi (500 BC-300 AD)

Wannan lokacin yana nufin ƙaƙƙarfan kafa al'ummar noma, wanda ya haifar da sare itatuwan dazuzzuka masu yawa na ƙasar.

Wannan sauyi ya haifar da juyin halitta na al'ummar Japan a fagen fasaha, al'adu da zamantakewa, tare da mafi girman tsarin zamantakewa da ƙwarewa na aiki, kuma ya haifar da karuwar rikice-rikice na makamai.

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Tsibirin Jafan yana cike da ƙananan jahohi da aka kafa a kusa da dangi (uji), waɗanda Yamato suka fi rinjaye, wanda ya haifar da dangin sarki. Sai addinin Shinto ya bayyana, addinin tatsuniyoyi ne wanda ya saukar da sarkin Amaterasu, allahn rana.

Wannan addini ya inganta ainihin ma'anar tsabta da sabo na fasahar Jafananci, tare da fifiko ga kayan tsabta kuma ba tare da kayan ado ba, tare da ma'anar haɗuwa tare da yanayi (kami ko superconsciousness). Daga karni na XNUMX BC. C. ya fara gabatar da wayewar nahiyar, saboda dangantaka da Sin da Koriya.

Al'adun Yayoi sun bayyana a tsibirin Kyūshū a kusan 400-300 BC. C., kuma ya ƙaura zuwa Honsū, inda a hankali ya maye gurbin al'adun Jōmon. A wannan lokacin, an ƙara wani nau'in babban binne tare da ɗaki da tudun da aka yi wa ado da silinda na terracotta tare da adadi na mutane da dabbobi.

An kewaye kauyuka da ramuka, kuma kayayyakin aikin gona iri-iri (ciki har da kayan aikin dutse da ake amfani da su wajen girbi) sun bayyana, da kuma makamai iri-iri, kamar baka da kibau masu gogen dutse.

A cikin tukwane, an kera abubuwa masu zuwa musamman: tulu, farji, faranti, kofuna da kwalabe tare da wasu keɓaɓɓu. Suna da wani fili da aka goge, tare da adon sauqi, akasarinsu incisions, dige-dige da magudanan ruwa na zigzag, abin da aka fi amfani da shi shine gilashin mai suna Tsubo.

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Ya yi nuni da aikin da karafa, musamman tagulla, irin su kararrakin dotaku, wadanda ake yi a matsayin abubuwan shagulgula, da aka yi wa ado da karkace (ryusui) ta hanyar ruwan fanfo, ko kuma dabbobi a cikin taimako (musamman barewa, tsuntsaye, kwari da sauransu). amphibians), da kuma wuraren farauta, kamun kifi da ayyukan noma, musamman wadanda suka shafi shinkafa.

Barewa yana da alama yana da ma’ana ta musamman, wataƙila yana da alaƙa da wani abin bautawa: a wurare da yawa an sami ɗimbin ruwan kafaɗar barewa tare da yanka ko alamar da aka yi da wuta, wanda aka ce yana da alaƙa da wani nau'in al'ada.

Sauran kayan ado da aka samu a wuraren Yayoi sun haɗa da: madubai, takuba, ƙwanƙwasa iri-iri, da magatama (gutunan ja da agate mai siffar cashew, waɗanda ke aiki azaman duwatsu masu daraja ta haihuwa).

Zaman Kofun (300-552)

Wannan zamanin ya nuna haɗin gwiwar daular Tsakiya ta Tsakiya, wacce ke sarrafa mahimman albarkatu, kamar ƙarfe da zinariya. Gine-ginen ya fi dacewa a cikin makabartar, tare da ɗaki na yau da kullum da kaburbura da ake kira kofun ("tsohon kabarin"), wanda aka ɗaga manyan tudun ƙasa.

Jana'izar sarakunan Ojin (346-395) da Nintoku (395-427) na da ban mamaki, inda aka samu abubuwa iri-iri, daga cikinsu akwai; kayan ado, siffofi da aka yi da kayan daban-daban musamman siffofi na terracotta.

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Wadannan mutum-mutumin tsayin su ya kai kusan santimita sittin, a zahiri ba su iya bayyanawa, wasu tsage-tsage ne kawai a idanu da baki, ko da yake sun kasance misali mai matukar dacewa na fasahar wannan lokacin.

Dangane da tufafinsu da kayan aikinsu, sana'o'i daban-daban sun yi fice a cikin waɗannan halayen, kamar manoma, 'yan bindiga, sufaye, matan lardi, 'yan kato da sauransu.

A karshen wannan lokaci, an kuma bayyana alkaluman dabbobi, da suka hada da barewa, karnuka, dawakai, dawakai, kyanwa, kaji, tumaki da kifi, wanda ke nuni da muhimmancin zaman da sojoji ke da shi a lokacin, wadanda siffofi na salo suna da nasaba da al'adun Silla. daga Koriya, da kuma wani nau'in tukwane da ake kira Sueki, wanda yake da duhu kuma yana da kyau sosai, tare da kayan haɗi.

Bambance-bambancen zamantakewa ya haifar da keɓance azuzuwan masu mulki a ƙauyuka na musamman na birane, irin su Yoshinogari, don ƙarewa ta dindindin a keɓance unguwannin kamar Mitsudera ko harabar fadar Kansai, Ikaruga da Asuka-Itabuki.

Dangane da gine-ginen addini, farkon haikalin Shinto (jinja) an yi su ne da itace, a kan tushe mai tasowa da bangon bango ko ɓangarori masu zamewa, tare da sansanoni waɗanda ke goyan bayan rufin da yake kwance.

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Ɗaya daga cikin abubuwan da ke tattare da shi shine torii, baka na ƙofar da ke alamar ƙofar wuri mai tsarki. A lura Ise Shrine, wanda aka sake gina shi duk bayan shekaru ashirin tun daga karni na XNUMX.

Babban ginin (Shoden) yana da bene mai ɗagawa da rufin gaɓoɓinsa, tare da sansanoni tara, waɗanda ke shiga ta wani matakala na waje. Yana cikin salon shinmei zukuri, wanda ke nuna salon marigayi Shinto, kafin zuwan addinin Buddah a Japan.

Wani haikali na tatsuniya wanda ba a san asalinsa ba shine Izumo Taisha, kusa da Matsue, haikalin almara wanda Amaterasu ya kafa. Yana cikin salon taisha zukuri, ana ɗaukarsa a matsayin mafi tsufa a cikin wuraren ibada, babban abin jan hankali shi ne hawan ginin a kan pilasters, tare da matakan hawa a matsayin babban hanyar shiga, kuma itace mai sauƙi yana gamawa ba tare da zane ba.

Bisa ga rubuce-rubucen da aka gano, wurin da aka gina na asali yana da tsayin mita 50, amma saboda wuta an sake gina shi da tsayin mita 25. Gine-ginen sune Honden ("wuri na ciki") da Hayden ("wuri na waje"). Kinpusen-ji, babban haikalin shugendō, addini mai tsattsauran ra'ayi wanda ya haɗu da Shinto, Buddha, da akidar raye-raye, shima yana cikin wannan lokacin.

A cikin wannan lokacin mun sami samfurori na farko na zane-zane, kamar yadda yake a cikin Jana'izar Royal na Ōtsuka da kaburbura masu siffar dolmen na Kyūshū (ƙarni na XNUMX zuwa XNUMX), an yi musu ado da wuraren ganima, fadace-fadace, steeds, tsuntsaye da jiragen ruwa, ko kuma tare da karkace. da da'irori masu ma'ana.

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Sun kasance zane-zanen bango, waɗanda aka yi da jajayen hematite, baƙar carbon, rawaya ocher, farin kaolin, da koren chlorite. Daya daga cikin sifofi na wannan zamani shine abin da ake kira chokomon, wanda aka yi shi da madaidaicin layi da baka da aka zana a kan diagonals ko giciye, kuma a kan bangon kaburbura, sarcophagi, Haniwa mutummutumai da madubin tagulla.

Lokacin Asuka (552-710)

Yamato ya yi tunanin kafa daular tsakiya bisa tsarin kasar Sin, wanda ke kunshe cikin dokokin Shōtoku-Taishi (604) da Taika na 646. Gabatar da addinin Buddah ya haifar da babban tasiri na fasaha da kyan gani a kasar Japan, tare da babban tasiri na fasahar kasar Sin.

Sai sarautar Yarima Shotoku (573-621), wanda ya fifita addinin Buddha da al'adu gabaɗaya, kuma ya kasance mai amfani ga fasaha. An wakilta gine-ginen a cikin gidajen ibada da gidajen ibada, galibi an rasa shi, ana ɗaukar maye gurbin layukan Shinto masu sauƙi tare da ɗaukaka da ke fitowa daga babban yankin.

A matsayin mafi kyawun ginin wannan lokacin, dole ne mu sanya sunan haikalin Hōryū-ji (607), wakilin salon Kudara (Paekche a Koriya). An yi shi ne a harabar haikalin Wakakusadera, wanda Shōtoku ya gina kuma abokan hamayyarsa suka kona shi a shekara ta 670.

Gina shi da axial planimetry, ya ƙunshi saitin gine-gine inda pagoda (Tō), Yumedono ("zaure na mafarki") da Kondo ("zauren zinare") suke. Yana cikin salon kasar Sin, yana amfani da rufin tile na yumbu a karon farko.

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Ɗaya daga cikin fasalulluka na wannan misali mai ban mamaki shi ne Wuri Mai Tsarki na Itsukushima (593), wanda aka yi akan ruwa, a cikin Seto, inda aka lura da Gojūnotō, Tahoto da honden daban-daban. Saboda kyawunta da Majalisar Dinkin Duniya ta sanya mata suna a matsayin Tarihin Duniya a 1996.

An yi zane-zane mai jigo na addinin Buddha da itace ko tagulla: an shigo da adadi na Buddha na farko daga babban yankin, amma daga baya adadi mai yawa na Sinawa da Koriya ta Arewa suka zauna a Japan.

Hoton Kannon, sunan Jafananci na bodhisattva Avalokiteśvara (wanda ake kira Guan Yin a Sinanci), ya yaɗu a ƙarƙashin sunan Bodhisattva Kannon, aikin Tori na Koriya; Kannon dake cikin haikalin Yumedono na Hōryū-ji; da Kannon na Kudara (karni na 623), na wani mai fasaha da ba a san shi ba. Wani muhimmin aiki shine Triad na Sâkyamuni (XNUMX), a cikin tagulla, ta Tori Busshi da aka shigar a cikin haikalin Hōryū-ji.

Gabaɗaya, sun kasance ayyuka masu tsanani, angular da archaic style, wanda aka yi wahayi zuwa ga salon Koguryŏ na Koriya, kamar yadda aka gani a cikin aikin Shiba Tori, wanda ke nuna "style na hukuma" na zamanin Asuka: Babban Asuka Buddha (Haikalin Hoko - ji, 606), Yakushi Buddha (607), Kannon Guze (621), Triad Shaka (623).

Wani mawaƙin da ya bi wannan salon shine Aya no Yamaguchi no Okuchi Atahi, marubucin The Four Celestial Guardians (shitenno) na Golden Hall of Hōryū-ji (645), wanda duk da tsohon salon yana ba da ƙarin juyin juzu'in juzu'i, tare da ƙari. fuskoki masu bayyanawa.

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Zanen da aka yi amfani da shi da kayan aikin Sinawa, wanda aka yi da tawada ko rini na ma'adinai da ake amfani da shi a kan siliki ko takarda, a kan littattafan takarda ko rataye a bango. Yana nuna ma'anar zane mai girma, tare da ayyuka na asali, irin su Tamamushi reliquary (Hōryū-ji), a cikin kafur da itacen cypress, tare da maƙallan filigree na tagulla, wanda ke wakiltar wurare daban-daban a cikin man fetur a kan itacen lacquered, a cikin wata fasaha da ake kira mitsuda. -ni daga Farisa kuma yana da alaƙa da zanen Sinanci na daular Wei.

A gindin gidan reliquary akwai jataka (asusun rayuwar Buddha da suka gabata), yana nuna yarima Mahasattva yana keɓe namansa ga tigress mai yunwa. A wannan lokacin, zane-zane ya fara samun shahara, ana ba shi matakin fasaha iri ɗaya kamar hotuna na alama.

An kuma lura da kaset ɗin siliki, kamar Mandala Tenkoku da aka yi wa Shotoku (622). Ceramics, waɗanda za a iya kyalkyali ko a'a, ba su da ƙarancin abin da ake samarwa a cikin gida, kasancewar mafi darajan shigo da Sinanci.

Zaman Nara (710-794)

A wannan lokacin, an kafa babban birni a Nara (710), babban birni na farko na mikado. A wannan lokaci, fasahar addinin Buddah ta kai tsayin daka, inda ta ci gaba da yin tasiri a kasar Sin da karfin gaske: Jafanawa a cikin fasahar Sinawa sun ga jituwa da kamala irin na Turai na fasahar Greco-Roman na gargajiya.

Misalai kaɗan na gine-gine daga lokacin sune gine-gine masu ban mamaki, kamar Gabas Yakushi-ji Pagoda, Tōshōdai-ji, Tōdai-ji, da Kōfuku-ji temples, da Shoso-in Imperial Storehouse a Nara, wanda ke adana kayan tarihi da yawa. daga zane-zane daga lokacin Sarkin sarakuna Shomu (724-749), tare da ayyuka daga China, Farisa, da Asiya ta Tsakiya. An gina birnin Nara bisa tsarin grid, wanda aka kera da Chang'an, babban birnin daular Tang.

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An ba wa fadar sarki mahimmanci daidai da babban gidan sufi, Tōdai-ji (745-752), wanda aka gina bisa ga tsari mai ma'ana a cikin babban shinge tare da pagodas tagwaye, kuma yana nuna Daibutsuden, "babban zauren Buddha". «. tare da babban mutum-mutumi na tagulla na mita 15 na Buddha Vairocana (Dainichi a cikin Jafananci), wanda Sarkin sarakuna Shōmu ya bayar a 743. An sake gina shi a 1700, Daibutsuden shine ginin katako mafi girma a duniya.

Wani muhimmin haikali shine Hokkedo, wanda ke da wani babban mutum-mutumi, Kannon Fukukenjaku, bodhisattva mai makamai takwas mai tsayin mita hudu. high da Tang tasiri, wanda aka sani a cikin natsuwa da placidity na fuska fasali.

Sabanin haka, Gabashin Yakushi-ji Pagoda wani yunƙuri ne na masu gine-ginen Japan na neman salon nasu, da kawar da tasirin Sinawa. Ya fito fili don tsayinsa, tare da madaidaicin murfi masu girma dabam, wanda ya ba shi bayyanar alamar kira.

A cikin tsarinsa, belun kunne da baranda sun fito waje, an kafa su ta hanyar sandunan katako masu tsaka-tsaki, cikin fararen fata da launin ruwan kasa. A ciki akwai hoton Yakushi Nyorai ("Buda magani"). An jera shi azaman Gidan Tarihi na Duniya a ƙarƙashin sunan Tarihi Monuments na Tsohuwar Nara.

Tōshōdai-ji (759) yana da matsayi iri ɗaya na haɗin kai na ƙasa, yana nuna bambanci tsakanin Kondo ("zauren zinare"), tare da ƙaƙƙarfan tasirin Sinanci, daidaitacce, da daidaito, da Kodō ("zauren lacca"). . ”), na mafi sauƙi da kuma kwance wanda ke nuna al’adar ƴan asalin.

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Wani mai baje kolin shi ne Kiyomizu-dera (778), wanda babban gininsa ya yi fice ga katafaren layin dogo, wanda daruruwan ginshiƙai ke goyan bayansa, wanda ya yi fice a kan tudu kuma yana ba da ra'ayoyi masu ban sha'awa game da birnin Kyoto. Wannan haikalin yana ɗaya daga cikin ƴan takara don jerin Sabbin Al'ajabi Bakwai na Duniya, kodayake ba a zaɓi shi ba.

A nata bangaren, Rinnō-ji ya shahara ga Sanbutsudō, inda akwai mutum-mutumi uku na Amida, Senjūkannon da Batōkannon. A matsayin wurin bautar Shinto, Fushimi Inari-taisha (711) ya fito waje, wanda aka sadaukar da shi ga ruhin Inari, musamman mai suna don dubunnan jajayen tori waɗanda ke alamta hanyar tsaunin da wurin ibada ya tsaya.

Wakilin Buddha ya sami babban ci gaba a cikin sassaka, tare da mutummutumai masu kyau: Sho Kannon, Buddha na Tachibana, Bodhisattva Gakko na Tōdai-ji. A lokacin Hakuho (645-710), danne dangin Soga da haɗin gwiwar daular ya haifar da ƙarshen tasirin Koriya da maye gurbinsa da Sinanci (daular Tang), yana samar da jerin ayyuka masu girma da gaske, tare da zagaye. mafi m siffofin.

Ana iya lura da wannan canji a cikin wani yanki na gumakan tagulla na Yakushi-ji, wanda Buddha zaune (Yakushi) ya kafa tare da bodhisattvas Nikko ("Hasken Rana") da Gakko ("Hasken Wata"), waɗanda ke nuna ƙarfin gaske a matsayinsa na contrapposto. da yawan bayyanar da fuska.

A Hōryū-ji, salon Tori na asalin Koriya ya ci gaba, kamar a cikin Kannon Yumegatari da Amida Triad na Locket Lady Tachibana. A Tōshōdai-ji Temple akwai jerin manyan mutum-mutumi, waɗanda aka yi da busasshiyar lacquer, suna haskaka tsakiyar Buddha Rushana (759), mai tsayin mita 3,4. Hakanan akwai wakilcin ruhohin masu kulawa (Meikira Taisho), sarakuna (Komokuten), da sauransu. Su ne ayyuka a cikin itace, tagulla, danye yumbu ko busassun lacquer, na ainihin gaske.

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Ana wakilta zanen da kayan ado na bango na Hōryū-ji (ƙarni na XNUMX na ƙarshe), kamar frescoes na Kondo, waɗanda ke da kamanceceniya da na Ajanta a Indiya. Nau'o'i iri-iri kuma sun fito, irin su kakemono ("zanen rataye") da emakimono ("zanen nadi"), labarun da aka zana a kan takarda ko siliki, tare da rubutun da ke bayyana fage daban-daban, wanda ake kira sutras.

A cikin Nara Shero -so-ciki, akwai zane-zanen zane-zanen mutum da yawa, tare da nau'ikan daban-daban da Jigogi: tsire-tsire, tsire-tsire, shimfidar wurare, da kayan shimfiɗaɗɗu. A tsakiyar wannan zamani, makarantar daular Tang ta zane-zane ta fara yaduwa, kamar yadda ake iya gani a bangon kabarin Takamatsuzuka, wanda ya kai kusan 700.

Ta hanyar dokar Taiho-ryo ta 701, ana sarrafa sana'ar mai fenti a cikin kamfanoni masu sana'a. Ma'aikatar masu zane-zane (takumi-no-tuskasa) ke sarrafawa, a karkashin Ma'aikatar Cikin Gida. Waɗannan ƙungiyoyi sun kasance masu kula da kayan ado da gidajen ibada, kuma tsarin su ya kasance har zuwa zamanin Meiji. Tukwane ya samo asali sosai ta hanyar fasaha daban-daban da aka shigo da su daga kasar Sin, kamar yin amfani da launuka masu haske da aka yi amfani da su a kan yumbu.

Zamanin Heian (794-1185)

A cikin wannan lokaci ne gwamnatin kabilar Fujiwara ta kasance, wadda ta kafa gwamnatin tsakiya ta gwamnatin kasar Sin, wadda ke da babban birninta a Heian (yanzu Kyoto). Manyan sarakunan fada (daimō) sun tashi kuma siffar samurai ya bayyana.

A game da wannan lokaci, graphology da ake kira Hiragana ya fito, wanda ya dace da harshen Sinanci ga harshen da ake amfani da shi a Japan, ta yin amfani da haruffan Sinanci don darajar sautin sauti. Rushewar dangantaka da kasar Sin ya haifar da fasahar Japan a sarari, tare da nuna fasahar addini fasaha ce ta zamani wacce za ta zama amintacciyar nuna kishin kasa na kotun daular.

Hoton hoton Buddha ya sami sabon ci gaba tare da shigo da sabbin ƙungiyoyi biyu daga babban yankin, Tendai da Shingon, bisa tushen addinin Buddah na Tantric na Tibet, wanda ya haɗa abubuwan Shinto kuma ya haifar da halayen syncretism na addini na wannan lokacin.

Tsarin gine-ginen ya sami canji a cikin shirin gidajen ibada, waɗanda aka gina a wurare masu keɓe, waɗanda aka yi niyya don yin zuzzurfan tunani. Mafi mahimmancin haikalin su ne Enryaku-ji (788), Kongōbu-ji (816), da Murō-ji pagoda-shrine. Enryaku-ji, wanda ke kusa da Dutsen Hiei, yana ɗaya daga cikin Abubuwan Tarihi na Tsohuwar Kyoto, wanda aka ayyana Gidan Tarihi na Duniya a cikin 1994.

Saichō ne ya kafa shi a cikin 788, wanda ya gabatar da darikar Buddhist na Tendai zuwa Japan. Enryaku-ji yana da wasu haikali 3.000, kuma ya kasance babbar cibiyar iko a zamaninsa, inda Oda Nobunaga ya lalata yawancin gine-ginensa a shekara ta 1571.

Daga cikin ɓangaren da ya tsira, Saitō ("zaure na yamma") ya fito a yau da Tōdō ("zaure na gabas"), inda Konpon chūdō yake, mafi wakilcin ginin Enryaku ji, inda aka ajiye mutum-mutumi na Buddha. Saicho da kansa, Yakushi Nyorai ya sassaƙa.

Hoton ya ɗan sami raguwa kaɗan idan aka kwatanta da lokutan baya. Hakanan, wakilcin Buddha (Nyoirin-Kannon; Yakushi Nyorai daga haikalin Jingo-ji a Kyoto; Amida Nyorai daga gidan sufi na Byōdō-in), da kuma wasu alloli na Shinto (Kichijoten, allahn farin ciki, daidai da Lakshmī India) .

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Tsananin tsattsauran ra'ayi na addinin Buddah yana iyakance rashin jin daɗi na ɗan wasan kwaikwayo, wanda ya iyakance kansa ga tsattsauran ra'ayi na fasaha wanda ke lalata ƴancin ƴancin sa. A lokacin 859 da 877, an samar da salon Jogan, wanda aka bambanta da hotuna na kusan nauyi mai ban tsoro, tare da wani yanayi mai zurfi da ban mamaki, kamar Shaka Nyorai na Murō-ji.

A lokacin Fujiwara, makarantar da Jōchō ya kafa a Byōdō-in ya tashi zuwa shahara, tare da mafi kyawun salo da siriri fiye da sassakawar Jogan, yana bayyana cikakkun siffofi na jiki da kuma yanayin motsi.

Taron na Jōchō ya gabatar da dabarun yosegi da warihagi, wanda ya ƙunshi rarraba adadi zuwa sassa biyu waɗanda aka haɗa su wuri ɗaya don sassaƙa su, ta yadda za a guje wa tsattsage daga baya, ɗaya daga cikin manyan matsalolin da ke tattare da manyan adadi. Waɗannan fasahohin kuma suna ba da damar hawan serial kuma an haɓaka su tare da babban nasara a makarantar Kei na zamanin Kamakura.

Zanen Yamato-e yana bunƙasa musamman akan littattafan da aka rubuta da hannu da ake kira emaki, waɗanda ke haɗa fage na hoto tare da kyawawan zane-zane na Katakana. Waɗannan litattafan sun ba da labarin abubuwan tarihi ko na adabi, irin su The Tale of Genji, wani labari na Murasaki Shikibu daga ƙarshen ƙarni na XNUMX.

Ko da yake rubutun aikin mashahuran marubuta ne, Hotunan da aka saba aiwatar da su ne ta hanyar masu shari'a na kotun, irin su Ki no Tsubone da Nagato ba Tsubone, suna ɗaukar samfurin kayan ado na mata wanda zai sami babban tasiri a cikin fasahar Japan na zamani.

FARKON JAPAN

A wannan lokaci, an fara rarrabuwar kawuna na zane-zane bisa jinsi, wanda ke nuna bambancin fahimtar juna tsakanin jama'a, inda namiji ke karkashin ikon Sinawa, kuma adon mata da kyan gani na Jafananci ne.

A cikin onna-e, ban da Tarihin Genji, Heike Nogyo (Lotus Sutra) ya fito waje, wanda dangin Taira suka ba da izini don wurin ibadar Itsukushima, inda suke kunshe a cikin littattafai daban-daban kan ceton rayuka da addinin Buddha ya yi shelarsa.

A daya bangaren kuma, wannan Otoko-e ya kasance mafi ba da labari da kuzari fiye da ona-e, mai cike da aiki, tare da hakikanin gaskiya da motsi, kamar yadda yake a cikin littafan Shigisan Engi, game da mu'ujizar sufa Myoren; Ban Danigon E-kotoba, game da yaƙi tsakanin dangi masu gaba da juna a karni na XNUMX; da kuma Chōjugiga, al'amuran dabbobi masu alamar alama da sautin satirical, suna sukar aristocracy.

Zaman Kamakura (1185-1392)

Bayan rikice-rikice da yawa tsakanin dangin feudal, an sanya Minamoto, wanda ya kafa shogunate, tsarin gwamnati tare da kotun soja. A wannan lokacin, an gabatar da ƙungiyar Zen zuwa Japan, wanda zai yi tasiri sosai ga fasaha na alama. Gine-ginen ya kasance mafi sauƙi, ƙarin aiki, ƙarancin alatu da ƙawata.

Mulkin Zen ya kawo abin da ake kira salon Kara-yo: Wuraren ibada na Zen sun bi fasahar axial planimetry na kasar Sin, duk da cewa babban ginin ba haikalin ba ne, amma dakin karatu, kuma wurin girmamawa ba ya zama wani mutum-mutumi. Buddha, amma ta wurin ƙaramin kursiyin inda abba ya koyar da almajiransa.

FARKON JAPAN

Babban rukunin haikali guda biyar na Sanjūsangen-dō, a cikin Kyoto (1266), da kuma gidajen ibada Kennin-ji (1202) da Tōfuku-ji (1243) a cikin Kyoto, da Kenchō-ji (1253) da Engaku-ji (1282) ) in Kamakura.

Kōtoku-in (1252) sananne ne don babban mutum-mutumin tagulla mai nauyi na Amida Buddha, wanda ya sa ya zama Buddha na biyu mafi girma a Japan bayan Tōdai-ji.

A cikin 1234, an gina Chion-in Temple, wurin zama na addinin Buddha na Jōdo shū, wanda aka bambanta da babbar ƙofa mai girma (Sanmon), tsari mafi girma a cikin Japan.

Ɗaya daga cikin wakilai na ƙarshe na wannan zamani shine Hongan-ji (1321), wanda ya ƙunshi manyan temples guda biyu: Nishi Hongan-ji, wanda ya hada da Goei-do da Amida-do, tare da ɗakin shayi da matakai biyu na gidan wasan kwaikwayo na Noh, wanda daya daga cikinsu ya yi ikirarin cewa shi ne mafi tsufa har yanzu; da Higashi Hongan-ji, gidan shahararren Shosei-en.

Hoton ya sami babban haƙiƙa, inda mai zane ya sami mafi girman 'yancin yin halitta, kamar yadda hotunan manyan mutane da sojoji suka nuna, kamar na Uesugi Shigusa (na wani ɗan wasan da ba a san shi ba), wani sojan soja na ƙarni na sha huɗu.

FARKON JAPAN

Ayyukan Zen sun ta'allaka ne a kan wakilcin iyayengijinsu, a cikin wani nau'in mutum-mutumi da ake kira shinzo, irin na ubangida Muji Ichien (1312, wanda ba a san sunansa ba), a cikin itacen polychrome, wanda ke wakiltar maigidan Zen zaune a kan karaga, a cikin hali na tunani annashuwa.

Makarantar Kei na Nara, magajin makarantar Jōchō na zamanin Heian, yana da mahimmanci musamman ga ingancin ayyukanta, inda mai sassaƙa Unkei, marubucin mutum-mutumin sufaye Muchaku da Sesshin (Kōfuku-ji na Nara), shi ma. a matsayin hotunan Kongo Rikishi (ruhohin masu kulawa), kamar manyan mutum-mutumi guda biyu da ke bakin ƙofar haikalin Tōdai-ji mai tsayin mita 8 (1199).

Salon Unkei, wanda zane-zanen Sinawa na daular Song ya yi tasiri, ya kasance mai inganci sosai yayin da yake daukar cikakken cikakken nazarin ilmin likitanci tare da bayyana ra'ayi da ruhi na ciki na mutumin da aka kwatanta.

An saka lu'ulu'u masu duhu har ma a cikin idanu, don ba da ƙarin haske. Ayyukan Unkei sun nuna farkon hotunan Japan. Ɗansa Tankei, marubucin Kannon Senju na Sanjūsangen-do, ya ci gaba da aikinsa.

An kwatanta zanen ta hanyar haɓaka haƙiƙanin gaske da zurfin tunani. Tsarin shimfidar wuri (Nachi Waterfall) da hoto Monk Myoe a cikin Tunani, na Enichi-bo Jonin; saitin hotuna daga Temple Jingo-ji a Kyoto, na Fujiwara Takanobu; Hoton Goshin na Emperor Hanazono, an inganta shi musamman.

FARKON JAPAN

Yanayin yamato-e ya ci gaba kuma an bayyana hotunan a cikin littattafan rubutu, yawancinsu tsayin mita da yawa. Waɗannan rubuce-rubucen sun nuna cikakkun bayanai game da rayuwar yau da kullun, al'amuran birni ko ƙauye, ko kwatanta abubuwan tarihi, kamar Yaƙin Kyoto na 1159 tsakanin abokan hamayya na dangin Imperial.

An gabatar da su a cikin al'amuran ci gaba, bin tsari na labari, tare da maɗaukakiyar panorama, a cikin layi madaidaiciya. Littattafan da aka kwatanta na abubuwan da suka faru a zamanin Heiji (Heiji monogatari) da na Kegon Engi na Enichi-bo Jonin sun yi fice.

Zanen da ke da alaƙa da ƙungiyar Zen ya fi tasiri kai tsaye na Sinanci, tare da fasaha mafi sauƙi na layin tawada na kasar Sin wanda ke bin ka'idar Zen cewa "launuka masu yawa sun makantar da ido."

Zaman Muromachi (1392-1573)

Shogunate yana hannun Ashikaga, wanda rigimarsa ta yarda da girma ikon daimyo, wanda ya raba ƙasa. Gine-ginen ya kasance mafi kyawu kuma mai mahimmanci Jafananci, yana nuna manyan gidaje, gidajen ibada irin su Zuihoji, da gidajen ibada irin su Shōkoku-ji (1382), Kinkaku-ji ko Pavilion na Zinare (1397), da Ginkaku-ji. o Tafarkin Azurfa (1489), a cikin Kyoto.

An gina Kinkaku-ji a matsayin ƙauyen hutu na Shogun Ashikaga Yoshimitsu, a matsayin wani yanki na yankinsa da ake kira Kitayama. Ɗansa ya mai da ginin ya zama haikali na ƙungiyar Rinzai. Ginin ne mai hawa uku, na farko an rufe shi da ganyen gwal zalla. Rukunin yana aiki azaman sheriden, wanda ke kare abubuwan tarihi na Buddha.

FARKON JAPAN

Har ila yau, ya ƙunshi mutum-mutumi iri-iri na Buddha da Bodhisattva, kuma fenghuang na zinariya yana tsaye a kan rufin. Har ila yau, yana da kyakkyawan lambun da ke kusa, tare da wani tafki mai suna Kyōko-chi, tare da tsibirai da yawa da duwatsu masu wakiltar labarin halittar Buddha.

A nata bangaren, shogun Ashikaga Yoshimasa ne ya gina Ginkaku-ji, wanda ya nemi yin koyi da Kinkaku-ji da kakansa Yoshimitsu ya gina, amma abin takaici ya kasa rufe ginin da azurfa kamar yadda ya tsara.

Har ila yau, halayen gine-gine na wannan lokaci shine bayyanar tokonoma, ɗakin da aka tanada don yin la'akari da zane-zane ko furen fure, daidai da kyan gani na Zen. Har ila yau, an gabatar da tatami, irin tabarmar da aka yi da bambaro na shinkafa, wanda ya sa cikin gidan Japan ya fi daɗi.

A wannan lokacin, fasahar aikin lambu ta haɓaka musamman, ta aza harsashin fasaha da kyan gani na lambun Japan. Manyan hanyoyi guda biyu sun fito: tsukiyama, kewayen tudu da tafki; da hiraniwa, wani fili mai falon yashi, mai duwatsu, bishiyoyi da rijiyoyi.

Mafi yawan ciyayi da aka fi sani da bamboo da furanni iri-iri da bishiyu, ko dai dawwama, irin su baƙar fata na Japan, ko ciyayi, irin su maple na Japan, ana kuma daraja abubuwa irin su ferns da kumfa.

Bonsai wani nau'i ne na al'ada na aikin lambu da ƙirar ciki. Lambuna sukan haɗa da tafki ko tafki, nau'ikan rumfuna iri-iri (yawanci don bikin shayi), da fitulun dutse. Ɗaya daga cikin halaye na al'ada na lambun Jafananci, kamar yadda yake a cikin sauran fasaharsa, shine rashin cikakke, wanda ba a gama ba da kuma asymmetrical.

Akwai nau'ikan lambuna daban-daban: "tafiya", wanda za'a iya gani yana tafiya a kan hanya ko kusa da tafki; na «zaure», wanda za a iya gani daga kafaffen wuri, gabaɗaya rumfa ko bukka irin machiya.

Te (rōji), a kusa da hanyar da za ta kai ga ɗakin shayi, tare da tayal bakdosin ko duwatsu masu alamar hanyar; da "binciken tunani" (karesansui, "dutse da ruwa mai faɗi"), wanda shine mafi yawan lambun Zen, wanda aka gani daga dandalin da ke cikin gidajen ibada na Zen.

Misali mai kyau shine abin da ake kira filin da ba shi da ruwa na lambun Ryōan-ji a Kyoto na mai zane kuma mawallafi Sōami (1480), wanda ke wakiltar teku, wanda aka yi da yashi mai ratsa jiki, cike da tsibirai, wadanda duwatsu ne. , Samar da gaba ɗaya wanda ya haɗa gaskiya da ruɗi wanda ke kiran nutsuwa da tunani.

An lura da sake farfado da zane-zane, wanda aka tsara shi cikin kayan ado na Zen, wanda ya sami tasirin daular Yuan da Ming na kasar Sin, wanda ya nuna musamman a fasahar ado.

An gabatar da fasahar gouache, cikakkiyar fassarar koyarwar Zen, wacce ke neman yin tunani a cikin shimfidar wurare abin da suke nufi, maimakon abin da suke wakilta.

Siffar bunjinso ta fito, wato "Shugaba mai ilimi" wanda ya kirkiro nasa ayyukansa, masana da masu bin fasahohin kasar Sin a cikin tawada monochrome, a takaice da kuma yada buroshin goge baki, wanda ya bayyana a cikin ayyukansa abubuwa na halitta kamar Pies, Reeds, orchids, bamboos. , Duwatsu, Bishiyoyi, Tsuntsaye da Siffofin ’yan Adam da suka nutse cikin yanayi, cikin yanayin tunani.

A Japan, ana kiran wannan fasaha ta tawada na kasar Sin sumi-e. Dangane da ka'idodin kyawawan ka'idoji guda bakwai na Zen, sumi-e ya nemi yin la'akari da mafi tsananin motsin zuciyarmu ta hanyar sauƙi da ladabi, a cikin sassauƙa da ladabi waɗanda ke ƙetare bayyanar su na waje don nuna yanayin tarayya da yanayi.

Sumi-e wata hanya ce (do) don nemo ruhi na ciki, wannan sufaye ne suka yi amfani da shi. Bambance-bambancen tawada, da hankali da watsawa, sun ba da damar mai zane ya kama ainihin abubuwan, a cikin sauƙi da ra'ayi na halitta, amma a lokaci guda mai zurfi da wuce gona da iri.

Yana da fasaha mai ban sha'awa na kisa da sauri, ba zai yiwu a sake maimaita shi ba, gaskiyar da ta haɗa shi da rayuwa, inda ba zai yiwu a koma ga abin da aka yi ba. Kowane zane yana ɗaukar makamashi mai mahimmanci (ki), tun da yake aiki ne na halitta, inda aka sanya hankali a cikin aiki kuma tsarin yana da mahimmanci fiye da sakamakon.

Mahimman wakilan sumi-e sune: Muto Shui, Josetsu, Shūbun, Sesson Shukei da, sama da duka, Sesshū Tōyō, marubucin hotuna da shimfidar wurare, mai zane na farko da ya fara zane yayin da yake raye. Sesshū wani Gaso ne, mai zane-zanen zuhudu, wanda ya yi tafiya zuwa kasar Sin tsakanin 1467 zuwa 1469, inda ya karanci fasaha da shimfidar yanayi.

Filayen shimfidarsa sun ƙunshi sifofi na layi, wanda ke haskakawa da hasken kwatsam wanda ke nuna tunanin Zen na lokacin wuce gona da iri. Waɗannan su ne wuraren shimfidar wurare tare da kasancewar abubuwan ban mamaki, irin su temples a nesa ko ƙananan sifofi na ɗan adam, waɗanda aka tsara a wurare masu nisa kamar dutse.

Wani sabon salo na zanen wakoki shima ya fito, shinjuku, inda yanayin shimfidar wuri ke misalta waka mai ruguza dabi'a. Har ila yau abin da ya kamata a ambata shi ne Makarantar Kanō, wanda Kanō Masanobu ya kafa, wanda ke amfani da fasahar gouache ga batutuwan gargajiya, yana kwatanta jigogi masu tsarki, na ƙasa da ƙasa.

An kuma yi amfani da wankin ga fenti da fenti na ƙofofin fusuma, alamun ƙirar cikin gida na Japan. A cikin tukwane, makarantar Seto ta yi fice, mafi shaharar nau'in rubutu ita ce tenmoku. Lacquer da karfe abubuwa ma sanannen misalai ne daga wannan lokacin.

Zaman Azuchi–Momoyama (1573-1603)

A wannan lokacin, Oda Nobunaga, Toyotomi Hideyoshi, da Tokugawa Ieyasu sun sake haɗa Japan, waɗanda suka kawar da daimyō kuma ya hau mulki.

Wa'adinsa ya zo daidai da isowar 'yan kasuwan Portugal da masu wa'azin Jesuit, waɗanda suka gabatar da addinin Kiristanci a ƙasar, kodayake sun kai ga tsiraru.

Ayyukan fasaha na wannan lokacin sun rabu da kyawawan dabi'un Buddha, suna jaddada dabi'un Jafananci na gargajiya, tare da salon fashewa. Mamayewar da aka yi wa Koriya a 1592 ya haifar da tilastawa wasu masu fasahar Koriya da yawa komawa Japan, waɗanda ke zaune a cibiyoyin samar da tukwane da ke ware daga sauran.

Har ila yau, a wannan lokacin, an sami tasirin farko na Yammacin Turai, wanda aka nuna a cikin salon Namban, wanda aka haɓaka a cikin zane-zane na miniaturist, tare da jigo na duniya, kayan ado na kayan ado da allon nadawa da aka yi wa ado a cikin salon Yamato-e, a cikin launuka masu haske da launin zinari. a cikin al'amuran da ke ba da labarin zuwan Turawa a gabar tekun Japan.

Dabarun hangen nesa, da kuma sauran bambance-bambancen zanen Turai kamar amfani da zanen mai, ba su da tushe a cikin fasahar fasaha a Japan.

A cikin gine-ginen gine-ginen gine-gine masu girma (shiro) ya fito fili, wanda aka ƙarfafa ta hanyar gabatarwa a Japan na bindigogi na asalin Yammacin Turai. Himeji, Azuchi, Matsumoto, Nijō, da Fushimi-Momoyama castles misalai ne masu kyau.

Castle Himeji, daya daga cikin manyan gine-gine na lokacin, ya haɗu da katafaren katanga tare da ƙayataccen tsari mai kamanni a tsaye, akan benaye guda biyar na itace da filasta, tare da lanƙwasa sifofin rufin a hankali kama da na gidajen ibada na gargajiya na Japan.

Kauyukan bukin shan shayin da suka kunshi kananan gidaje ko fada da manyan lambuna, su ma sun yadu, an kuma gina gidajen wasan kwaikwayo na katako na kabuki a wasu garuruwan.

A fannin zane-zane, makarantar Kanō ta kama mafi yawan kwamitocin hukuma, tare da fayyace zanen bangon bango na manyan gine-ginen Jafananci, akwai muhimman mutane masu suna Kanō Eitoku da Kanō Sanraku.

Ga manyan gine-ginen, waɗanda ba su da haske ta kunkuntar buɗewar tsaronsu, an ƙirƙiri wani nau'i na ɓangarori masu launin zinari waɗanda ke nuna haske kuma suka watsa shi cikin ɗakin, tare da manyan zane-zane waɗanda aka ƙawata da abubuwan ban mamaki, kamar dabbobi. kamar damisa da dodanni, ko shimfidar wurare tare da kasancewar lambuna, tafkuna da gadoji, ko a cikin yanayi guda huɗu, jigon da ya dace da kowa a lokacin.

Har ila yau, bugu na allo ya bunƙasa sosai, gabaɗaya tare da sawa tawada, yana bin salon sumi-e, kamar yadda ake iya gani a cikin ayyukan Hasegawa Tōhaku (dajin Pine) da Kaiho Yūshō (Prim da plum bishiyar a cikin hasken wata). Siffar Tawaraya Sōtatsu, marubucin ayyukan daɗaɗɗa mai ƙarfi, a cikin naɗaɗɗen rubuce-rubucen rubuce-rubuce, allo da magoya baya, an kuma haskaka.

Ya ƙirƙiri salon waƙa da kayan ado wanda aka yi wahayi ta hanyar rubutun waka na zamanin Heian, wanda ake kira rinpa, yana samar da ayyukan kyawawan kyan gani da ƙarfin zuciya, kamar Labarin Genji, Hanyar Ivy, alloli na tsawa da iska. , da dai sauransu.

Ƙirƙirar yumbura ya kai ɗan lokaci mai girma, samfuran haɓaka don bikin shayi, waɗanda aka yi wahayi daga yumbu na Koriya, waɗanda rusticity da bayyanar da ba a gama ba suna yin daidai da kyawun Zen wanda ke mamaye bikin shayi.

Sabbin kayayyaki sun fito, irin su farantin nezumi da tulun ruwa na kogan, yawanci tare da farar jiki da aka yi wa wanka a cikin feldspar kuma an yi masa ado da sassauƙan ƙira da aka yi daga ƙugiya ta ƙarfe. Ya kasance yumbu mai kauri tare da kamanni mai ƙyalƙyali, tare da maganin da ba a gama ba, wanda ya ba da jin daɗin rashin ƙarfi da rauni.

Seto ya kasance babban furodusa, yayin da a garin Mino aka haifi muhimman makarantu biyu: Shino da Oribe. An kuma lura da makarantar Karatsu da nau'ikan tukwane guda biyu:

Iga, tare da nau'i mai laushi da kauri mai kauri, tare da fashe mai zurfi; da Bizen, yumbu mai launin ja-launin ruwan kasa marar glazed, har yanzu mai laushi, an cire shi daga cikin dabaran don samar da ƙananan fasa na halitta da incisions waɗanda suka ba shi kamanni mara nauyi, har yanzu suna dacewa da kyan gani na Zen na ajizanci.

Daya daga cikin fitattun mawakan wannan lokacin shine Honami Kōetsu, wanda ya yi fice a fannin zane-zane, wakoki, aikin lambu, lacquerware, da dai sauransu. An horar da shi a cikin al'adar fasaha na zamanin Heian da kuma a cikin Shorenin School of calligraphy, ya kafa wani yanki na masu sana'a a Takagamine, kusa da Kyoto, tare da filin da Tokugawa Ieyasu ya ba da kyauta.

Masu sana'a daga Makarantar Buddhist na Nichiren sun kula da wurin kuma sun samar da ayyuka masu inganci da yawa. Sun kware a cikin kayan lacquerware, musamman kayan ofis, an yi musu ado da gwal da inlays na uwar lu'u-lu'u, da kayyaki da tebura iri-iri na bikin shayin, wanda ke nuna cikakken kwanon fujisan. jajaye an rufe shi da baƙar wando kuma, a saman, farar ƙanƙara mara kyau wanda ke ba da tasirin dusar ƙanƙara.

Zaman Edo (1603-1868)

Wannan lokacin fasaha ya yi daidai da lokacin tarihi na Tokugawa, lokacin da aka rufe Japan ga duk hulɗar waje. An kafa babban birnin a Edo, Tokyo na gaba. An tsananta wa Kiristoci kuma an kori ’yan kasuwa Turawa.

Duk da tsarin vassalage, ciniki da sana'a sun yaɗu, wanda ya haifar da ajin bourgeois wanda ya girma cikin iko da tasiri, kuma ya dukufa wajen inganta fasahar fasaha, musamman ma buga, yumbu, lacquerware, da kayan ado. textiles.

Mafi yawan ayyukan wakilci sune Fadar Katsura a Kyoto da Tōshō-gū Mausoleum a Nikkō (1636), wanda wani ɓangare ne na "Nikkō Shrines and Temples", UNESCO ta ayyana wuraren Tarihi na Duniya a cikin 1999.

Wani nau'i nau'in haɗin gwiwar mabiya addinin Shinto-Buddha, shine mausoleum na shogun Tokugawa Ieyasu. Haikalin wani tsari ne mai tsayin daka tare da sassauƙa kala-kala da ke rufe duk abin da ake gani. Gine-ginensa masu ban sha'awa da kayan ado masu yawa sun fito fili, wanda ya bambanta da salon gidajen ibada na wancan lokacin.

An ƙawata abubuwan ciki da cikakkun kayan sassaka na lacquer a cikin launuka masu haske da kuma ƙwararrun fenti. An gina fadar Katsura (1615-1662) akan tsarin asymmetrical wanda aka yi wahayi zuwa ga Zen, inda amfani da layin madaidaiciya akan facade na waje ya bambanta da sinuousness na lambun da ke kewaye.

Saboda yanayin zama wurin da dangin sarki za su huta, villa ɗin ya ƙunshi babban gini, dakunan dakunan shan shayi da wurin shakatawa na mita 70000. Babban gidan sarauta, wanda ke da bene ɗaya kawai, an raba shi zuwa annexes huɗu suna haɗuwa a kusurwoyi.

Gabaɗayan ginin yana da wasu halaye na gina su akan ginshiƙai kuma sama da su jerin ɗakuna masu katanga da kofofi, wasu da zanen Kanō Tan'yū.

Hakanan halayen wannan lokacin shine gidajen shayi (chashitsu), gabaɗaya ƙananan gine-ginen katako tare da rufin katako, kewaye da lambuna a cikin yanayin watsi, tare da lichens, mosses da faɗuwar ganye, bin manufar Zen. na transcendent ajizanci.

Farkon ci gaban fasaha da fasaha

A wannan lokacin, Japan a hankali ta yi nazarin fasahohin Yammacin Turai da ci gaban kimiyya (wanda ake kira rangaku) ​​ta hanyar bayanai da littattafan da aka samu daga 'yan kasuwa na Holland a Dejima.

Filayen da aka fi yin nazari sun haɗa da ilimin ƙasa, likitanci, kimiyyar halitta, ilmin taurari, fasaha, harsuna, ra'ayi na zahiri kamar nazarin abubuwan lantarki da na inji. Haka kuma an sami babban ci gaban ilmin lissafi, a halin yanzu wanda bai kai na yammacin duniya ba. Ana kiran wannan igiyar ruwa mai ƙarfi wasan.

Furen Neo-Confucianism shine babban ci gaban ilimi na lokacin. limaman addinin Buddah sun dade suna gudanar da binciken na Confucianism, amma a wannan lokacin wannan tsarin imani ya jawo hankalin mutane da yawa ga tunanin mutum da al'umma.

An ga ɗabi'a na ɗabi'a, ra'ayi da ra'ayi na tarihi na Confucianism a matsayin abin koyi na zamantakewa. A tsakiyar karni na XNUMX, Confucianism ya zama babban falsafar shari'a kuma ya ba da gudummawa kai tsaye ga ci gaban tsarin ilmantarwa na kasa, kokugaku.

Babban darajarsa ga tsarin mulkin shogunal shine girmamawa ga alaƙar matsayi, biyayya. zuwa sama. da biyayya, wanda ya kai ga al'umma gaba daya da kuma saukaka kiyaye tsarin feudal.

Sana'ar yadin ya sami mahimmanci sosai, galibi a cikin siliki, wanda ya kai matakan inganci, wanda shine dalilin da ya sa rigunan siliki (kimono) cikin launuka masu haske da kyawawan kayayyaki galibi ana rataye su a dakuna. sun rabu, kamar su allo ne.

An yi amfani da fasahohi iri-iri, kamar rini, ƙwanƙwasa, ƙura, ƙyalli, kayan shafa, da zanen hannu. Silk yana samuwa ne kawai ga manyan aji, yayin da mutane ke sanye da auduga, waɗanda aka yi amfani da fasahar ikat na Indonesiya, ana fentin su a sassa da rini na indigo suna musanya da fari.

Wata dabarar da ba ta da inganci ita ce saƙa da zaren auduga mai launi daban-daban, tare da shafa rini na gida a cikin salon batik ta hanyar yin amfani da man shinkafa da dafaffe da ƙanƙara.

Ya kamata a lura da cewa kamar yadda fasahar Jafananci ta rinjayi fasahar Yammacin Turai a karni na XNUMX, haka nan kuma ya sami rinjaye ta hanyar tsattsauran ra'ayi da dabi'ar fasahar Japan. Wannan shi ne yadda aka haifi abin da ake kira Japonism a yammacin duniya, wanda ya samo asali ne a rabi na biyu na karni na XNUMX, musamman a Faransa da Birtaniya.

An bayyana wannan a cikin abin da ake kira Japoneries, abubuwan da aka yi wahayi ta hanyar kwafin Jafananci, ain, lacquer, magoya baya da abubuwan bamboo, waɗanda suka zama gaye duka a cikin kayan ado na gida da kuma a cikin riguna da yawa na sirri waɗanda ke nuna fantasy da decoralism na al'adun Japan. .

A cikin zane-zane, an karɓi salon makarantar ukiyo-e da ƙwazo, kuma an yaba da ayyukan Utamaro, Hiroshige, da Hokusai. Masu fasaha na yammacin duniya sun kwaikwayi sassauƙan ginin sararin samaniya, sassauƙan kwane-kwane, salon kira, da hazakar dabi'a ta zanen Jafananci.

Zamanin zamani (tun daga 1868)

A cikin lokacin Meiji (1868-1912) an fara farfadowa mai zurfi na al'adu, zamantakewa da fasaha a Japan, wanda ya buɗe ƙarin ga duniyar waje kuma ya fara haɗa sabon ci gaba da aka samu a Yamma. Yarjejeniya ta 1868 ta soke gata na feudal da bambance-bambancen aji, wanda bai haifar da ingantuwar azuzuwan proletarian matalauta ba.

An fara wani lokaci mai ƙarfi na faɗaɗa mulkin daular, wanda ya kai ga yakin duniya na biyu. Bayan yakin, kasar Japan ta fuskanci wani tsari na tsarin demokradiyya da bunkasar tattalin arziki wanda ya sanya ta zama daya daga cikin manyan kasashen duniya masu karfin tattalin arziki da kuma babbar cibiyar samar da masana'antu da fasahar kere-kere. Zamanin Meiji ya biyo bayan zamanin Taishō (1912-1926), Shōwa (1926-1989), da zamanin Heisei (1989-).

Tun daga shekara ta 1930, ci gaba da haɓaka aikin soja da faɗaɗawa a cikin Sin da Kudancin Asiya, tare da karuwar albarkatun da aka keɓe ga kasafin kuɗin soja, ya haifar da raguwar taimakon fasaha. Koyaya, tare da haɓakar tattalin arziƙin bayan yaƙi da sabon ci gaban da aka samu tare da haɓaka masana'antu na ƙasar, an sake haifar da fasahar fasaha, waɗanda tuni suka nutsar da su cikin ƙungiyoyin fasaha na duniya saboda tsarin dunkulewar al'adu.

Hakanan, wadatar tattalin arziki tana ƙarfafa tattarawa, ƙirƙirar gidajen tarihi da wuraren baje koli waɗanda suka taimaka yadawa da adana fasahar Jafananci da na duniya. A fagen addini, kafa a zamanin Meiji na Shintoism a matsayin kawai addini na hukuma (Shinbutsu bunri) ya haifar da watsi da lalata gidajen ibada na Buddha da ayyukan fasaha, wanda ba zai iya yiwuwa ba tare da sa baki na Ernest Fenollosa, farfesa a fannin fasaha. falsafa. daga Tokyo Imperial University.

Tare da magnate kuma majiɓinci William Bigelow, ya ceci ɗimbin ayyuka waɗanda suka haɓaka tarin fasahar Buddha a Gidan Tarihi na Fine Arts a Boston da Freer Gallery of Art a Washington DC, biyu daga cikin mafi kyawun tarin fasahar Asiya a cikin duniya..

Gine-ginen yana da alkibla biyu: na gargajiya (Yasukuni shrine, Heian Jingu da Meiji temples, a Tokyo) da kuma wanda ke da tasiri a Turai, wanda ya haɗa sababbin fasaha (Yamato Bunkakan Museum, na Iso Hachi Yoshida, a Nara).

Yammacin Turai ya haifar da gina sababbin gine-gine kamar bankuna, masana'antu, tashoshin jirgin kasa, da gine-ginen jama'a, waɗanda aka gina su da kayan aiki da fasaha na yammacin Turai, da farko suna kwaikwayon gine-ginen Victorian na Ingilishi. Wasu gine-ginen ƙasashen waje kuma sun yi aiki a Japan, irin su Frank Lloyd Wright (Otal ɗin Imperial, Tokyo).

Gine-ginen gine-gine da birane sun sami babban ci gaba bayan yakin duniya na biyu, saboda bukatar sake gina kasar. Sa'an nan kuma wani sabon ƙarni na gine-gine ya fito.

Kenzō Tange ya jagoranta, marubucin ayyuka irin su Hiroshima Peace Memorial Museum, St. Mary's Cathedral a Tokyo, filin wasa na Olympics na 1964 Tokyo Olympics, da dai sauransu.

Dalibai da mabiyan Tange sun ƙirƙiri ra'ayin gine-ginen da aka fahimta a matsayin "metabolism", suna ganin gine-gine a matsayin nau'i na kwayoyin halitta waɗanda dole ne su dace da bukatun aiki.

Harkar da aka kafa a 1959, sun yi tunanin yin cibiyar jama'a, wanda tushensa shine ƙirƙirar jerin gine-ginen da suka canza bisa ga canje-canje na waje, kamar dai kwayoyin halitta ne.

Membobinta sun hada da Kishō Kurokawa, Akira Shibuya, Youji Watanabe, da Kiyonori Kikutake. Wani wakili shi ne Maekawa Kunio wanda, tare da Tange, sun gabatar da tsoffin dabarun ado na Jafananci a cikin gine-gine na zamani.

Sake yin amfani da fasahohi da kayayyaki na gargajiya kamar tatami tabarma da amfani da ginshiƙai, wani yanki na gine-gine na gargajiya a cikin gidajen ibada na Japan, ko haɗa lambuna da sassaka a cikin abubuwan da ya halitta. Ba na manta da yin amfani da fasahar vacuum, Fumihiko Maki ne ya yi nazari a kan dangantakar sararin samaniya tsakanin ginin da kewaye.

Tun daga shekarun 1980, fasahar zamani ta kasance tana da tushe mai ƙarfi a Japan, tun a zamanin da, haɗuwa tsakanin mashahurin kashi da sophistication na nau'ikan halaye ne.

Arata Isozaki, marubucin Kitakyushu Museum of Art da kuma Kyoto Concert Hall ne ya wakilci wannan salon. Isozaki yayi karatu tare da Tange kuma a cikin aikinsa ya haɗa ra'ayoyin yamma tare da sararin samaniya, aiki da ra'ayoyin kayan ado na Japan.

A nasa bangare, Tadao Andō ya haɓaka salon da ya fi sauƙi, tare da damuwa mai girma ga gudummawar haske da sararin samaniya zuwa iska ta waje (Chapel a kan ruwa, Tomanu, Hokkaidō; Church of the Light, Ibaraki, Osaka; Museum of the Yara, Himeji).

Shigeru Ban ya kasance da amfani da kayan da ba a saba da su ba, kamar takarda ko filastik: bayan girgizar kasa ta Kobe a 1995, wanda ya bar mutane da yawa ba su da gida, Ban ya ba da gudummawa ta hanyar tsara Delo wanda aka fi sani da Paper House da Cocin Paper, a ƙarshe , Toyō. Itō ya binciko hoton zahiri na birni a zamanin dijital.

A cikin sassaka akwai kuma duality-avant-garde na al'ada, wanda ke nuna sunayen Yoshi Kimuchi da Romorini Toyofuku, baya ga abstract Masakazu Horiuchi da Yasuo Mizui, mazaunin karshen a Faransa. Isamu Noguchi da Nagare Masayuki sun tattaro kyawawan al'adun sassaka na ƙasarsu a cikin ayyukan da suka yi nazarin bambanci tsakanin rashin ƙarfi da gogewar kayan.

Har ila yau, zanen ya bi hanyoyi guda biyu: na gargajiya (nihonga) da yammacin (yōga), duk da kasancewar duka biyun, siffar Tomioka Tessai ya kasance a farkon karni na 20. Yayin da aka haɓaka salon nihonga a karshen daga farkon karni na 19. Karni na XNUMX na mai sukar fasaha Okakura Kakuzo da malami Ernest Fenollosa.

Neman zane-zane na gargajiya don babban nau'i na bayyana ma'anar Jafananci, ko da yake wannan salon ya sami tasirin yammacin Turai, musamman daga Pre-Raphaelite da Romanticism. Hishida Shunsō, Yokoyama Taikan, Shimomura Kanzan, Maeda Seison, da Kobayashi Kokei suka wakilce shi.

An raya zanen irin na Turawa ne a karon farko ta hanyar dabaru da jigogi da ake amfani da su a Turai a karshen karni na XNUMX, wanda galibi ke da alaka da ilimi, kamar yadda ya faru a Kuroda Seiki, wanda ya yi karatu na tsawon shekaru a birnin Paris, amma ya ci gaba. mabambantan igiyoyin ruwa da suka faru a fasahar Yamma:

Ƙungiyar Hakuba Kai ta ɗauki tasirin Impressionist; Zanen zane ya kasance Takeo Yamaguchi da Masanari Munay a matsayin manyan jarumai; Masu fasaha na alama sun haɗa da Fukuda Heichachiro, Tokuoka Shinsen, da Higashiyama Kaii. Wasu masu fasaha sun zauna a wajen ƙasarsu, irin su Genichiro Inokuma a Amurka da Tsuguharu Foujita a Faransa.

A cikin Taishō, salon yoga wanda ya fi tasiri a kan nihonga, kodayake karuwar amfani da haske da hangen nesa na Turai ya rage bambance-bambancen tsakanin igiyoyin biyu.

Kamar dai yadda nihonga ya karɓi sabbin abubuwa na Post-Impressionism, yōga ya baje kolin ƙwaƙƙwaran eclecticism, yana fitowa daga ƙungiyoyin fasaha iri-iri iri-iri.

Don wannan mataki, an ƙirƙiri Kwalejin Fine Arts na Japan (Nihon Bijutsu In). Zane-zane na zamanin Shōwa yana da alamar aikin Yasuri Sotaro da Umehara Ryuzaburo, waɗanda suka gabatar da ra'ayoyin fasaha mai tsafta da zane mai ƙima ga al'adar Nihonga.

A cikin 1931, an kafa Ƙungiyar Ƙwararrun Ƙwararrun Ƙwararru (Dokuritsu Bijutsu Kyokai) don inganta fasahar avant-garde.

Tun farkon Yaƙin Duniya na II, ƙa'idodin doka na gwamnati sun jaddada jigogi na kishin ƙasa a fili. Bayan yakin, masu fasaha sun sake farfadowa a manyan biranen, musamman Tokyo.

Ƙirƙirar zane-zane na birane da na duniya, waɗanda ke bibiyar sabbin sabbin abubuwa da aka samar a duniya, musamman a Paris da New York. Bayan sifofin abstract na sittin, shekarun saba'in sun koma ga gaskiyar da pop-art ke so, kamar yadda aikin Shinohara Ushio ya nuna.

Yana da ban sha'awa cewa wani abu mai ban sha'awa ya faru a ƙarshen 1970s, shine cewa an sake komawa ga fasahar Jafananci na gargajiya, inda suka ga karin magana da ƙarfin zuciya.

Al’adar buga littattafai ta ci gaba har zuwa ƙarni na XNUMX a cikin salon “fafin halitta” (sosaku hanga) waɗanda masu fasaha suka zana kuma suka sassaƙa su musamman a cikin salon nihonga, kamar Kawase Hasui, Yoshida Hiroshi, da Munakata Shiko.

Daga cikin sabbin abubuwan da suka faru, rukunin Gutai yana da kyakkyawan suna a cikin abin da ake kira fasahar aiki, wanda ya daidaita kwarewar yakin duniya na biyu ta hanyar ayyukan da aka tuhume su da ban dariya, tare da tsananin tashin hankali da tashin hankali.

Ƙungiyar Gutai ta ƙunshi: Jirō Yoshihara, Sadamasa Motonaga, Shozo Shimamoto, da Katsuō Shiraga. Yana da alaƙa da fasahar zamani, masu fasaha da yawa, waɗanda ke da hannu a cikin sabon yanayin duniya na baya-bayan nan, wanda ke da alamar al'adu da yawa na maganganun fasaha.

Shigeo Toya, Yasumasa Morimura. Sauran fitattun mawakan Jafananci na zamani sun haɗa da: Tarō Okamoto, Chuta Kimura, Leiko Ikemura, Michiko Noda, Yasumasa Morimura, Yayoi Kusama, Yoshitaka Amano, Shigeo Fukuda, Shigeko Kubota, Yoshitomo Nara71, da Takashi Murakami.

Idan kun sami wannan labarin mai ban sha'awa, muna gayyatar ku don jin daɗin waɗannan wasu:


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