Indian, Chinese and Japanese Art

Indian art includes the painting, sculpture, and architecture of India. Indian art dates back to the Indus Valley civilization of about 3000 BC.

Buddhist art includes sculpture and murals created in the periods of the Gandhara and Gupta kingdoms. The first known images of the Buddha were produced in a monumental soft and rounded style that was exported, with the Buddhist religion, to China, Korea, and Japan.

Hindu art was influenced by Buddhist art. But, unlike Buddhist art, Hindu art shows the human figure curved and filled with potential motion. Ancient beliefs of the India understood the body as an aesthetic form second only to the deities. Hindu art reflects the life rhythms of the fundamental themes of this religion. Hindu art works are usually brass statues of Krishna, Vishnu, Shiva, and other symbols of devoting. Hindu art creates brilliant sculptural schemes in rock-cut caves at Mamallapuram, and known for their ensemble of religious art (Buddhist, Hindu, and Japan) dating from the 6th and 7th centuries.

Mogul art dates from the Muslim invasion of north-west India in the Middle Ages. The invaders destroyed Buddhist and Hindu temple art and introduced their own styles, particular of the Islamic art. The Koran forbids human and animal representation in art, therefore Islamic artistry was channeled into calligraphy and ornament. Ceramic tiles decorated mosques and palaces.

Court artists excelled in miniature painting.

The Shiraz School is distinguished by its brilliance of coloring, a love of gorgeous landscapes, by the frequent inclusion of freely drawn bird and flower motifs in the margins, and by faces and figures with rounded contours, fine lines, narrow eyes, and rather characteristic profile glances. A new system of vertical perspective is evident in which figures are shown one over the other, and where such things as ponds and carpets appear as flat on the page.

With the arrival of Prince Humay, the symbolic decorative basis of Persian painting is here fully apparent. The flowers bask in the brilliance of daylight while the stars shine in the sky, combining realism with symbolism. The artist is completely unbounded by the practicality of naturalism, yet his approach remains completely comprehensible.

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