What is the significance of Asuka period in Japanese art history?

Asuka period is an important epoch-making period in Japanese art history. Sculpture in Asuka period embodies the artist's superb skills. Asuka period is an important epoch-making period in Japanese art history. Observing the sculpture tradition in Asuka period, we can find that sculpture art, like its sister art-painting and architecture, is composed of complex elements.

Specifically, the western region art with the style of India, Sassanian Dynasty and Eastern Roman Empire is combined with the art of the Southern and Northern Dynasties with the style of Han people. One school formed the art of Sui Dynasty, and the other school spread to Japan after flowing into Korea, forming the art of Asuka period. From this point of view, during the Asuka period, sculpture art was introduced from South Korea to Japan, and on this basis, it was constantly cultivated and flourished. But it was also influenced by the Sui Dynasty.

In any case, the Japanese in Asuka believed in Buddhism, a new religion, and expressed their sincere belief in Buddhism by borrowing the art form of western sculpture. This is an indisputable fact. There are deep-rooted elements of oriental art here. This is also an indisputable fact. The formation of bird carving art is the same as that of Gandhara carving art in India. Therefore, it is necessary for the author to talk about the history of sculpture development in ancient India.

This work is not without its merits. There are sculptures on the pillars built by Ashoka. This is probably the oldest Indian sculpture. These columns are round integral sticks decorated with capital letters. The stigma is decorated with a relief bed board. The carvings on the table are symbols of animals or animals, or a combination of the two.

On the whole, the carving technique is vigorous and skillful. In particular, the animals carved on it are lifelike, which has a fanatical feeling and has the value of guiding the carving art of later generations. The creativity of Ashoka's stone pillar carving is obviously influenced by Persian and Assyrian carving art. These influences lasted until the 5th century through the sculptures of Buchal Huth and Sanjay. But these sculptures themselves are Indian sculptures.

Although Indian artists borrowed from foreign sculpture art ideas, they completely assimilated these ideas into Indian sculpture art and became their own things. In addition, it also retains the statues of the same period and the carving artistic elements of other countries. Among the relics of the 2nd century BC, there is a stone fence of Bucharhuth. There are exquisite reliefs on it, which are intriguing. However, these works are eclipsed by the sculptures of Bouchard Huth and Sanjay.

There is a dead pagoda woman in Bouchard's cabin. Zutapo consists of a stone fence and a beautifully carved door, depicting the legend of Sakyamuni. Goulan is seven feet and one inch high, with a crown stone of similar length on it. These are all carved in the first half of the 2nd century BC. There are also carvings on the pagoda doors in Shan Zhi, and the exquisite carving art is amazing.

The height of the four doors is thirty-four feet. Each door consists of two 14-foot-high upright square columns and three slightly curved beams with various statues and symbols on them. Both sides express the legend of Sakyamuni, which is engraved with relief and used for decoration. It can be speculated that these are all from the 2nd century BC.

In these places and other Buddhist shrines, the most common symbols are elephants, trees, wheels and pagoda girls. These things are chosen because they all symbolize the true meaning of Buddhism. Legend has it that Mrs. Moyev, the biological mother of Sakyamuni, dreamed that elephants fell from the sky and gave birth to Sakyamuni. The elephant is also a symbol of Sakyamuni. The tree is a bodhi tree. Sakyamuni was enlightened under the bodhi tree. The Falun symbolizes the preaching of Sakyamuni.

Zutapo is the death of Sakyamuni, which reached great nirvana, and it is a form of expressing detachment and tranquility. In addition, it is most noteworthy that although these ancient Indian sculptures show the Buddha-forming process of Sakyamuni, Sakyamuni himself did not appear in the sculptures. When the Greek sculpture art spread to India, the body posture of Sakyamuni appeared in the art, and Greek art taught Indians to open their eyes to see sacred things.

However, Greek art entered India in a late era. Ancient Buddhist sculpture has a charm. This charm is not only manifested in rich decoration and skillful skills, but also in the instinct with emotional ups and downs and the joy of living. Bouchard Huth's sculpture shows a resolute and bold atmosphere. The compassion shown by sculpture is full of warmth. Sculpture belongs to advanced Buddhist art, and then the sculpture of Gandhara school appeared, which was somewhat bound by the ancient spirit and was not fully displayed.

Indian sculpture art has been developed to varying degrees. This is similar to the light atmosphere and totem symbol worshipped by Japan before Buddhism was introduced to Japan. The secret carving art in ancient India was influenced by Persia and Assyria. The influence of Xiongnu and Turkic sculpture art can also be seen in ancient Japanese sculpture. At this point, India and Japan have similarities. Barnett, who is well versed in ancient Indian history, believes that Indian art is influenced by Greece.

This is the so-called Greek-Indian Gandhara school. The details are as follows: "Gandhara school rose in BC 1 century. From 50 years to 250 years, the sculpture art of Gandhara school reached a mature level. The center of the rise of this school is the Gandhara area on the northwest border of India. There are many sculptures left in Gandhara area.

The art of Gandhara school added elements of Greek sculpture art on the basis of ancient Indian style, and then the spiritual essence of Indian and Greek sculpture art gradually assimilated and finally merged into one, reaching a perfect integration. Buddhists in northern India, as a medium to express lofty ideals, applied the art of Gandhara school. Specifically. They painted and carved with the art of Gandhara school. These paintings and sculptures spread to China, Korea and Japan through Central Asia. "

In a sense, the Japanese sculpture art in the Asuka period was the bud of the seeds sown by North Korea, which absorbed the fertilizer from the Sui Dynasty and thrived. However, the author believes that if traced back to the source, it should still be in Gandhara, India. The author thinks that the Japanese sculpture art in Asuka period was rooted in Syria, Greece, the Eastern Roman Empire, Mesopotamia and Egypt. This is the system and essence of Japanese sculpture art in Asuka period.

Asuka's Japanese art was characterized by "cosmopolitanism", in other words, "cosmopolitanism". Earlier, the author has talked about this. In order to constantly pursue truth, goodness and beauty, Japanese artists in Asuka period got rid of racial prejudice and transcended the concept of national boundaries, and had no time to consider whether their artistic thinking was based on the inherent spirit of Japan or stuck to foreign habits. Japanese artists in the Asuka period only created according to their keen artistic sense at that time.

This artistic feeling is produced under the impetus of strong Buddhist belief. Japanese artists in Asuka period did not follow the tradition or imitate the idea of a certain prototype, but absorbed in artistic creation. Of course, there are some imitative elements and some traditional elements. Even in these works, we can still see the elements of primitive methods and prototypes, but once these elements are integrated into their minds, the impression left to the outside world is no longer just imitation and follow. Will flash out the epoch-making status and value as the art of the times.

Therefore, Asuka's art has its own particularity, which is invisible to the art of other times. Its particularity is the essence of Asuka's art? The embodiment of "cosmopolitanism" the author thinks that the representative of this particularity is what art historians call bird patterns. By investigating the positioning of bird patterns in the world art history, this paper specifically discusses the "cosmopolitanism" concept of Japanese art in Asuka period.

The author respects three doctors of engineering, Ito, Tsumoto and Jian Ye, who often study various problems in art history. They have a good eye for technology, so they have made many special discoveries. These findings tell us the value and system of Japanese art in Asuka period and its position in the world. Dr ITO wrote an academic paper on bird patterns. Although the quantity is small, the quality is quite remarkable.

Dr. Ito pointed out: "In the surface decoration art, the most important patterns are drawn vertically and horizontally with countless lines, and freely drawn through endless colors. At first glance, the results are quite different and irrelevant, but if we systematically sort out and classify them, we can trace them back to the source. There are few original prototypes, and it can be found that its birthplace is Egypt and Assyria. This is incredible. Japanese patterns also inherited the mantle of this system. " With his foresight, Dr. Ito studied the patterns of birds.