The Physiological Society of Japan: Choju-Giga - Essay Example

Choju Giga Introduction Regarding the topic, “ Giga”, what do individuals learn about Japan in the late Heian moments? Hand painted scrolls rather known as “emaki” originated in the late period of Heian as a distinctive style of Japanese art. With the Buddhist monks anthropomorphic depictions, The “Choju Giga” is identified as a new form of satirical emaki (Lee 49). Choju jinsbutsu Giga’s work was regarded as a set in theKozan-ji temple possession in Kyoto, one among Buddhist sketch traditional centers in medieval Japan. Hand scrolls were unroll 30-80 cm in a single moment and assembled by pasting paper strips together made of gampi, mitscumata, and mulberry fibers. This paper will analyze the three fundamental concepts used in “Choju Giga” artwork. These key concepts include: Anthropomorphism: this is the attribution of human behavior or manner to that of an animal. Various cultures have a long-standing anthropomorphized tradition characteristic that represent behaviors of human in both art and storytelling traditions. This paper will illustrate the influence of animal representations in “Choju Giga” artwork. Satire: This form of art and literature brings about vices and conventions fun among individuals and groups with a significance of ridiculing them. This paper will apply “Choju Giga” as context to demonstrate the use of animal characteristic in order to make connections between visual and literary satire. Parody: this an artistic and literary work that imitates the style of characters of the author or work for effects of comic or ridicule. This paper will use the satirical emaki examination as a context to illustrate the use of images of animal in animation. Descriptive analysis of “Choju Giga” “Choju Giga” is regarded as unusual from other build hand scrolls the difference being that, it is limited to an accompanying text, and for its humorous matter of subject. The scrolls are acknowledged as a satirical observation on monastic life and moral decrease in Japan’s 12th century (Baker 88). In difference to West, where animation has performed a significant cultural role in the Japan’s 20th century, the country has a long pictorial tradition. Various scholars comment that these scrolls are important for their history as some the earliest Japanese manga forms (Napier 73). In this scrolls segment, there is a marked absence of intense colors, with rather an emphasis on ink and strokes of the brush. The scroll is meant to be viewed from the right side to the left side. On the left side end, there is a frog image next to the monkey. The frog is observed to be holding a leaf umbrella and the monkey clothing what emerges to be branches. The umbrella hold by the frog is made of large lily branch leaf, the monkey is wearing some elongated hat, and holding a branch filled leaf. Almost at the center, there is a monkey fully gowned in leaves holding Long Branch of willow. Slightly to the monkey’s right side, there is a rabbit standing upright, putting on a hat of leaf, which looks like the one monkey, has worn in the center. On the bottom right-hand side is another frog wearing human clothing that includes the sandals, a broad brimmed hat, loosely fitting trousers, and holding what seems to be a fan and a branch. All of these images are painted in a subtle, playful way with gentle yet careful strokes of the brush. There seems to be just enough illustration in order to provide the figures a particular form of fullness. In other meaning, there does not appear to be any limitation due to the lacking of colors. Indeed, the drawings of the animal have a particular abundance of them. The accessories ads and type of clothing weight to the animals, making them look similar to human beings. Contextual and formal analysis The demonstrative hand scroll rather regarded as emaki, emerged out of the Yamato-e tradition, which is important as representing a new formula of painting indigenous to Japan country. A breakthrough work in this style of painting of Yamato-e was scrolls analyzing scenes from the tale of Genji (Lee 52). As the only fragments survive the Genji Monogatari emaki, together with the “Choju Giga” are some of the ‘four great scrolls images’ of the tradition of Japanese (Fumio 30). The other two scrolls involved in the collection are the Mt. Shigi legends and the Ban Dainagon Emaki, which includes the illustration of stories on the courtier Ban Dainagon. As all these scrolls mark the Japanese emaki zenith, the “Choju Giga” is thus recognized for many reasons. In a stylistically manner, it is understood as using only black color, which is done in a blithe calligraphic way (Lee 54). Notice the way Mt Shingi and Genji scrolls, on the other side, employ a more pronounced and illustrated application of colors. “Choju Giga” is particularly unusual because the anthropomorphic images are trusted to be a parody, satirizing the medieval Japan monastic late life. In this case the subject aspect is humorous, contrasting with the other scrolls that have a contextual meaning that is more weighted than they are. The Genji’s Tale scrolls refer to a voluminous Japanese literature work. The Mt. Shingi scrolls illustrate tales of miraculous occasions in the Ban Dainagon and Buddhist tradition scrolls demonstrated a significant historical occasion. Whereas, the subject issue in these all illustrated scrolls is somehow serious, the “Choju Giga” stands alone with instead humorous undertones. For example, one section of scrolls depicts a match of wrestling between a hare and a frog in which the frog is regarded as the victorious. Regarding a hare ranks higher than a frog in the culture of Japanese, this might be a commentary on the hierarchical existence of feudalistic Japan. Another scroll from the “Choju Giga”’s art, frogs dressed as priests are considered in some of gambling, maybe strip poker (Eto, 458). The scrolls are not only comical but also stand for a commentary on the era’s decadent culture. Thus, some scholars have illustrated the “Choju Giga” scrolls as journalistic cartoons of early precedent (Fumio 30). More importantly, scholars have bridged a connection between the Japanese manga and the “Choju Giga”. Manga can be defined as ‘humorous picture’ while “Choju Giga” can be regarded as ‘humorous bird images and animals’ (Masami 13). The ink color caricature of the 18th-century revival as observed in the Katsushika Hokusai’s works also possess the influence of this early emaki pieces (Baker 90). Specifically, some works from the famous cartoon collection of Hokusai known as Hokusai Manga closely relates to the style of the “Choju Giga” scrolls (Isao 32). Additionally, much similar to the “Choju Giga”, Hokusai manga is a critical observation of the implemented elite during the time of Hokusai attained through caricature of the samurai and classes of aristocratic (Ito 460). Interpretation of the analysis It looks like there is a confusing argument in consideration of the profound influence of the “Choju Giga” emaki on the manga’s evolution through the Katsushika Hokusai’s work. Without considering the scholarly pontification, the pictures demonstrate for themselves; there is an observable similarity in purpose and style between the Hokusai Manga segments and the “Choju Giga” scrolls. The arguments raised in regards to the journalistic function of the “Choju Giga” scrolls as a political cartoon of early precedent also has more explanation. A reader with no idea could open a copy of the New York Times and look like a political cartoon with the absence of any accompanying text. In my own opinion, I trust that the “Choju Giga” scrolls performed in a similar manner to audiences during the late period of Heian. This is particularly important regarding this was painted in medieval Japan, not the talk about the Western stereotypes considering the culture of Japanese as grave and sterile. In general, I am not surprised these scrolls are of significant among national treasures of Japanese. I importantly appreciate the color and reliance absence of the brush stroke. This stylistic character requires attention to the subject issue and permits the brush strokes to build up expressive qualities. First when individuals meet these works especially at the Tokyo National Museum’s online database it strikes them as hilarious. Even though they have no idea as to the meaning placed upon the paintings, the mere depictions, for instance, in the hares, frogs, and the monkeys walking around dressed like humans looks obviously peculiar. Therefore, the question that arises in the minds of several individuals is that whether their ability to instantly identify the humor in this artwork in fact speaks for the influence of the “Choju Giga” emaki on anime and cartoons in the 20th century? There is a significant humor emphasis of the period in the drawing of typical individuals and this folktale. This particular technique and style make this emaki be one of the instances of the origination of the cartoon tradition in the country of Japan. Later this will impact woodblock prints. In addition, various scholars argue that this style impacted manga and finally an anime; however others disagree with this argument. In the scrolls, individuals rather regarded as viewers, should view the scroll from right to the left. This viewing method is associated with the manner of reading ‘manga’, which is Japanese cartoons. “Choju Giga” is frequently accounted for being the oldest works of manga in Japanese country, and most of the creators of the animations of the Japanese believe that it is the occurrence of the animated films and videos. The four scrolls, regarded as National Treasurers of Japan, are currently strictly stored safeguarded and cared most for. The first two present showed at the National Museum of Tokyo and the other two at the National Museum of Kyoto. Reproductions are only presented to the display to the public at Kozan-ji, Togano – o, in Kyoto. Works cited Baker, Joan Stanley. Japanese Art. Thames and Hudson ltd: New York, 1984. Print. Fumio, Anabuki. Opinions in pen and ink. Japan Quarterly 48 (4), 2001, 29-44. Print. Isao, Takahata. 12th-century moving pictures. Japan Quarterly 48, (3); 2001, 31-52. Print. Ito, Kinko. A History of Manga in the context of Japanese culture and society. The Journal of Popular Culture 38 (3), 2005, 457-476. Print. Kitazume, Sachiko. Do the Japanese Have a Sense of Humor? Society 47(1). 2010, 35-37. Print. Lee, Sherman. Reflections of Reality in Japanese Art. Cleveland Museum of Art. 1993. Print. Napier, Susan J. “The Problem of Existence in Japanese Animation”. Proceedings of the American Philosophical Society. Philadelphia, 149 (1); 2005, 72-80. Print. Toku, Misami. What is Manga?: The influence of pop culture in adolescent art. Art Education 54 (2), 2001, 11-18. Print. Read More