The depiction of night in paintings is common in art in Asia. Paintings that feature the night scene as the theme are mostly portraits and landscapes. Some artworks which involve religious or fantasy topics use the quality of dim night light to create mysterious atmospheres. They tend to illustrate the illuminating effect of the light reflection on the subjects under either moonlight or artificial light sources.
Early oriental artists created works that focused on design and spiritual interpretation of their subjects rather than realistic, three-dimensional representations. For centuries, eastern night paintings were spiritually and emotionally evocative works with unshaded, two-dimensional imagery. Like the western world, the moon, candles, and stars helped set the nocturnal scene. But there were also items, such as clothing and tree leaves, that might be used in a specific way to express nighttime from an eastern perspective.
The 16th century Mughal painter Basawan was an early artist who integrated western techniques and perspective into eastern art. [1] When trade opened up between the far east and the west art slowly changed in both sides of the world. For instance, Japanese ukiyo-e prints influenced Parisian artists. And, Jesuit priests, like Matteo Ricci, brought artwork to China that introduced western approaches for perspective and shading. [2] These factors broadened the way in which nighttime was portrayed everywhere.
Black and grey shades often symbolize gloom, fear, mystery, superstitions, evil, death, secret, sorrow. The light source in most religious paintings symbolize hope, guidance or divinity. In fantasy paintings light could symbolize magic.
Traditional Chinese artists sought to capture the interrelated, vast and multifaceted aspects of nature here are on earth and in the heavens. From the article "The Great Art of China's 'Soundless Poems'", Heaven appears "before us only this bright shining mass; but in its immeasurable extent, the sun, the moon, stars and constellations are suspended in it, and all things are embraced under it." [3] : 52–53 Night scenes, not otherwise distinguishable from daytime in Chinese art, include candles, light emanating from a building, the moon, or lake mists. [3] : 70
Symbolism plays an enduring role in the telling of a story through painting or other Chinese art. For instance, stars and the moon are important both for religious significance and as an illustration of Chinese mythology. [4] Symbols used in art may be grouped into four overarching categories: religious imagery, divine and mortal beings, symbols from nature and inanimate objects. [5] Some examples of symbols include bats which means both good wishes and good luck. The moon, aside from religious and mythical connotations, can also mean a month. [4] The particular way an image is depicted has meaning - like a round eyed-cat means it's a night scene. [6]
Artists use rice paper, silk or wood panels to paint night scenes. Silk has illuminating effect, while wood panels create a dark background.
Dream of the Red Chamber and Strange Stories from a Chinese Studio were inspiration for night time paintings.
Almost 500 legendary tales written by Pu Songling are compiled in Strange Stories from a Chinese Studio or Liaozhai Zhiyi. The tales, inspired by oral storytelling, include strong mythical characters like ghosts, immortals, beasts and foxes. They also offer commentary about people, particularly the privileged and court officials, whose human frailties may result in unfair, unjust and other unfavorable treatment to others. [7] He wrote with vivid imagery about the music of heaven, the inability of the light produced by a fire-fly to illuminate the demons of the night, red rings in the sky that shear the heads off of men, and the six conditions of existence: men, sinners, angels, demons, beasts and devils. Nighttime is a symbol for people's inability to understand the world around them. And the supernatural beings are meant to be a mirror to examine the nature of man. From a preface by T'ang Meng Lai to the book, Lai states that the book should prompt the readers to reflect upon the following: "We marvel at devils and foxes: we do not marvel at man. But who is it that causes a man to move and to speak?" [8] One collection of the illustrated stories is at the National Museum of China. [9]
Many of the Chinese ghost beliefs have been accepted by neighboring cultures, notably Japan and south-east Asia. Ghost beliefs are closely associated with the traditional Chinese religion based on ancestor worship, many of which were incorporated in Taoism. Later beliefs were influenced by Buddhism, and in turn influenced and created uniquely Chinese Buddhist beliefs.
Zhong Kui is a mythological figure, generally a vanquisher of ghosts and evil beings, and reputedly able to command 80,000 demons. Another mythological figure is Yan luo, the judge of Hell.
Chinese artists focus on the spiritual qualities of the painting and on the ability of the artist to reveal the inner harmony of man and nature, as perceived according to Taoist and Buddhist concepts. [10] Artists, like Su Shi used their skills in calligraphy (the art of beautiful writing) to make ink paintings that expressed ideas based upon the philosophies of Chinese dynasties and Confucius. Their works also express their feelings and the inner spirit of their subject. [3] : 42, 45–46, 48, 50
Within a night scene, homesickness is expressed by flying birds looking to find a place to rest for the night: 65
Han Gan created Night-Shining White Horse to dramatically capture the spirit of the imperial stallion, a symbol of China's powerfulness using only ink and paper. The stark image, without color or shading, exposes the true essence of the scene. [11]
Waiting for Guests by Lamplight was painted in the Song Dynasty by Ma Lin, [12] [13] son of famous Chinese painter Ma Yuan. [nb 2] Using shi i (English: poetic ideas) [nb 3] , Ma Lin painted the evening scene based upon a poem by Su Shi. In it, a man sits in the door of a pavilion during a full moon. A gentle mood is set by soft, low-lying fog before the mountains and crabapple trees. Leading up to the building is a line of candles specially placed near the blossoming crab apple trees - to "illuminate their beauty". [3] : 45
The poem by 11th century poet Su Shi that inspired Ma Lin is:
My fear is that in the depth of night,
The flowers will fall asleep and depart. So I light the tall candles,
To illuminate their beauty. [3] : 45
In Chinese night paintings, the moon often symbolizes loneliness of the painting's character. It also sets the mood for a romantic setting. Chinese paintings also depict mythological characters who symbolize moonlight activity, such as Yue-Laou, the "old man of the moonlight" and Chang'e, the Chinese goddess of the moon.[ citation needed ]
The Goddess Chang'e in the Lunar Palace depicts Chang'e, the Chinese goddess of the moon from Chinese mythology. [nb 4] The late Ming dynasty fan painting shows her outside the Palace of Boundless Cold. [14] Chang'e Flying to the Moon is a contemporary depiction of the goddess.
Night Revels of Han Xizai was painted by Gu Hongzhong during the Five Dynasties and Ten Kingdoms period when dynasties replaced one another at an alarming rate. Fives vignettes are told about a party that Han Xizai, a minister of Li Yu, hosts. In the first scene (viewed from right to left), Han listens to the pipa with his guests. Then, he watches dancers, takes a rest, plays string instruments, and finally sees guests off. It is believed that this painting was made in response to a request by emperor Li Yu to Gu, [15] [16] following Han's declination of an offer to be Prime Minister. One interpretation is that the painting was a way of chastising Han for having a carefree nightlife rather than accepting greater political responsibility.[ citation needed ]
While paintings are generally a snapshot of a moment in time, the Japanese iji dôzu (English: "different time, same illustration") technique is used to is illustrate activities that occur in different periods of time. A Long Tale for an Autumn Night uses that technique through a progression of time and activities over one night. [nb 5] During the Autumn night a Buddhist monk and his lover experience a fearful night of a demon in initially disguised as a man, a battle, and threat of suicide - all the more sinister by the gloom of night. [17]
In the 19th century Tsukioka Yoshitoshi made a series of 100 ukiyo-e, Japanese wood block prints, called One Hundred Aspects of the Moon that introduced Japanese and Chinese folklore during a period of increasing western presence. The works captured "a moment in time and held suspended by a poetic dialogue with the moon." The moon symbolized different meanings depending upon whether it was a full moon or not. The moon's "waxing and waning", also used as the basis of the Japanese lunar calendar, could illustrate what time of the month an event occurred and ascribe a manner in which it was to be interpreted, such as the character's loneliness. [19] [nb 6]
In Gravemarker Moon, the famous poet Ono no Komachi meditates on the arrogance and heartlessness she displayed to her suitors as a young beauty.[ citation needed ]
Wang Changling is the name of the poet who wrote: "The night is still and a hundred flowers are fragrant in the western palace. She orders the screen to be rolled up, regretting the passing of spring with the Yunhe across her lap. She gazes at the moon, the colors of the trees are hazy in the indistinct moonlight."[ citation needed ]
Tale of Genji also included Tale of Genji's love, which has an illustration.
According to the Metropolitan Museum of Art, Night Rains, of the 8 Famous Views of the Xiao and Xiang Rivers, is "a venerable theme in both Chinese and Japanese painting". [20]
Fireworks at Ryōgoku captures the popular summer entertainment called "taking in the cool of the evening." [21]
Suzuki Harunobu made many night paintings, including Two Girls on the Veranda Looking at the Moon. [22] Many of the settings were warm relational studies, such as Night Rain at the Double-Shelf Stand which includes a parlor scene with two young women and a boy. A soft mood is set with the presence of a tea set and portable hearth for boiling water. The Metropolitan Museum of Art states that this painting is a nod to Night Rains of 8 Views of the Xiao and Xiang Rivers, a painting well respected by both the Japanese and Chinese. [20]
Buddhism was an important part of Korean art since about the time of the Unified Silla period when there was a desire to be open to other religions. This resulted in the use of Buddhist themes in art work and the creation of Buddhist temples. In the 14th century, a work was made of Water-Moon Avalokiteshvara, [23] a compassionate and wise bodhisattva who wears a halo as a sign of his divinity and has waves of water splashing his feet. A legendary hare stands under a cassia tree in the moon creating the elixir of immortality. [24] [25]
For traditional art, there is little difference between the way night and day are illustrated and the colors that are used. For instance in early Rajput (also called Rajasthani) paintings, the only way to read that the painting is a night scene is through the presence of torches or candles. Later in the Rajput period, both somewhat influenced by Western art, night scenes were painted dramatically with shadows and Mughal paintings used chiaroscuro for shading. [26]
Although there are a number of schools that taught painting during India's history, there is great similarity among them to evoke charming, romantic scenes. The scenes may include moonlight or lanterns to set an amorous mood. [27] Such was the case for 19th century artist, Chokha, who enjoyed making night paintings like Escapade at Night: A Nobleman Climbs a Rope to Visit his Lover. In that painting Chokha captures the tension of lover climbing several stories into a house with many people and a sleeping guard. Chokha also liked to capture twilight hunting scenes. He astutely conveyed the effects of lighting variation between twilight and the darkest night. [28]
Rao Bhoj Singh Stalking a Tiger at Night is a painting attributed to the Hada Master of the Kota school. In this case the dark is used for dramatic impact. It provides a dark backdrop to the bright figures of the treed hunting party, riled tiger and battered cow that was used as a lure. [29]
Baz Bahadur and Rupmati (not shown) depicts mistress Rupmati and Muslim ruler Baz Bahadur. The scene is illuminated from the moon on the horizon. [32] [33]
Cambodian paintings often took the form of murals, [nb 8] and have religious significance. Before 1200, art in the temples mostly portrayed scenes from the Hindu pantheon; after 1200, Buddhist scenes began to appear as standard motifs.[ citation needed ] Its art was heavily influenced by the artistry of India. [36]
Brahma with Attendants and Musicians depicts a Brahma (Korean: Beomcheon) heaven scene which was painted during the early Joseon dynasty in Korea. Brahma, a Hindu deity, also became part of the Buddhist religion and protected the Buddhist teaching. The heavenly scene is includes musicians with flutes, violins, lutes and other instruments. [38] Smith, author of Arts in Korea, writes: "His abode, the Brahma heaven, was construed as a place of pleasure, populated with heroes, entertainers and musicians." The work, replete with evidence of grandeur, includes two figures who represent the moon and sun. [39]
Utagawa Kuniyoshi made Okabe about 1844 which depicts the death of Buddha. In recounting the death of Buddha, cats are supposed to be the only animals that not to weep. In Kuniyoshi's time, it was believed that when a girl visited a temple after dark, she took the risk of being greeted by an old woman who would offer her to stay the night. Once inside the house, the old woman would become a witch and devour her. Therefore, a cat around temples could be the witch in a cat form.
The painting Vigil on the Sixth Night after Mahavira's Birth depicts four women celebrating the birth of Mahavira's (599-527 BC) birth. [40] [41]
Chinese art is visual art that originated in or is practiced in China, Greater China or by Chinese artists. Art created by Chinese residing outside of China can also be considered a part of Chinese art when it is based on or draws on Chinese culture, heritage, and history. Early "Stone Age art" dates back to 10,000 BC, mostly consisting of simple pottery and sculptures. After that period, Chinese art, like Chinese history, was typically classified by the succession of ruling dynasties of Chinese emperors, most of which lasted several hundred years. The Palace Museum in Beijing and the National Palace Museum in Taipei contains extensive collections of Chinese art.
Budai is a nickname given to the ancient Chinese monk Qici who is often identified with and venerated as Maitreya Buddha in Chan Buddhism. With the spread of Chan Buddhism, he also came to be venerated in Vietnam, Korea, and Japan. He is said to have lived around the 10th century CE in the Wuyue kingdom.
Ink wash painting ; is a type of Chinese ink brush painting which uses washes of black ink, such as that used in East Asian calligraphy, in different concentrations. It emerged during the Tang dynasty of China (618–907), and overturned earlier, more realistic techniques. It is typically monochrome, using only shades of black, with a great emphasis on virtuoso brushwork and conveying the perceived "spirit" or "essence" of a subject over direct imitation. Ink wash painting flourished from the Song dynasty in China (960–1279) onwards, as well as in Japan after it was introduced by Zen Buddhist monks in the 14th century. Some Western scholars divide Chinese painting into three periods: times of representation, times of expression, and historical Oriental art. Chinese scholars have their own views which may be different; they believe that contemporary Chinese ink wash paintings are the pluralistic continuation of multiple historical traditions.
Utagawa Kuniyoshi was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. He was a member of the Utagawa school.
Tsukioka Yoshitoshi was a Japanese printmaker.
Chang'e, originally known as Heng'e, is the goddess of the Moon and wife of Hou Yi, the great archer. Renowned by her beauty, Chang'e is also known for her ascending to the Moon with her pet Yu Tu, the Moon Rabbit and living in the Moon Palace (广寒宫). She is one of the major goddesses in Chinese mythology, Chinese folk religion, Chinese Buddhism, Confucianism, and Taoism. In modern times, Chang'e is the namesake of the Chinese Lunar Exploration Program.
Toriyama Sekien, real name Sano Toyofusa, was a scholar, kyōka poet, and ukiyo-e artist of Japanese folklore. Born to a family of high-ranking servants to the Tokugawa shogunate, he was trained by Kanō school artists Kanō Gyokuen and Kanō Chikanobu, although he was never officially recognized as a Kanō school painter.
Korean arts include traditions in calligraphy, music, painting and pottery, often marked by the use of natural forms, surface decoration and bold colors or sounds.
Korean painting (Korean: 한국화) includes paintings made in Korea or by overseas Koreans on all surfaces. The earliest surviving Korean paintings are murals in the Goguryeo tombs, of which considerable numbers survive, the oldest from some 2,000 years ago, with varied scenes including dancers, hunting and spirits. It has been hypothesized the Takamatsuzuka Tomb in Japan, from the 7th-century end of the Goguryeo period, has paintings with Goguryeo influence, either done by Goguryeo artists, or Japanese one trained by Goguryeo people. Since a lot of influences came into the Korean peninsula from China during the Three Kingdoms period. Until the Joseon dynasty the primary influences came from 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.
Japanese painting is one of the oldest and most highly refined of the Japanese visual arts, encompassing a wide variety of genres and styles. As with the history of Japanese arts in general, the long history of Japanese painting exhibits synthesis and competition between native Japanese aesthetics and the adaptation of imported ideas, mainly from Chinese painting, which was especially influential at a number of points; significant Western influence only comes from the 19th century onwards, beginning at the same time as Japanese art was influencing that of the West.
Toyohara Kunichika was a Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of yakusha-e, which are woodblock prints of kabuki actors and scenes from popular plays of the time.
Illustrated handscrolls, emakimono, or emaki (絵巻) is an illustrated horizontal narration system of painted handscrolls that dates back to Nara-period Japan. Initially copying their much older Chinese counterparts in style, during the succeeding Heian (794–1185) and Kamakura periods (1185–1333), Japanese emakimono developed their own distinct style. The term therefore refers only to Japanese painted narrative scrolls.
Utagawa Yoshiiku, also known as or Ochiai Yoshiiku, was a Japanese artist of the Utagawa school.
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Yoshitoshi Mori was a Japanese artist who specialized in kappazuri stencil prints. He was for many years a member of the mingei folk craft movement, and was close with Yanagi Sōetsu, founder of the movement, and Serizawa Keisuke, among others, producing stencil-dyed textiles and other textiles arts before turning to prints later in his career.
The National Museum of Fine Arts of Moldova is a museum in Chișinău, Moldova, founded in November 1939 by Alexandru Plămădeală and Auguste Baillayre.
Yūrei-zu (幽霊図) are a genre of Japanese art consisting of painted or woodblock print images of ghosts, demons and other supernatural beings. They are considered to be a subgenre of fūzokuga, "pictures of manners and customs." These types of art works reached the peak of their popularity in Japan in the mid- to late 19th century.
One Hundred Aspects of the Moon, or Tsuki no Hyakushi (月百姿) in Japanese, is a collection of 100 ōban size ukiyo-e woodblock prints by Japanese artist Tsukioka Yoshitoshi printed in batches, starting in 1885 until 1892. It represents one of Yoshitoshi's later works. The woodblock prints feature various famous figures, both historical and literary characters, each in a moonlit scene as well as occasional references to poetry.
Hell Courtesan is a legendary figure originating in Edo Japanese folklore. The Hell Courtesan has been portrayed multiple times in ukiyo-e.
