CHARACTERISTICS OF ASIAN ART

CHARACTERISTICS OF ASIAN ART

We usually see it in murals, looms and clothing. It appears on television, in animated series and even in the movies. And yet, despite the fact that globalization gave us constant access to this type of art, there are still very few Westerners who really understand its essence.

Undoubtedly, there is no doubt that there is a considerable difference between European and Asian art. This division is mainly due to its roots.

 

KEY DIFFERENCES BETWEEN ASIAN AND EUROPEAN ART

It is incredible how a few hundred thousand kilometers and a few decades of difference led the artistic expressions of each society along such different paths.

While the Romans, on our side of the globe, sought to create figures that simulated the beauty of nature and man in the most precise way, Asian art focused more than ever on the exaggeration of features, elements and concepts.

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This difference found its explanation in the specific interest of each art form. After all, where Westerners sought an accurate record of the reality around them, Asians explored their spirituality and its complexity.

ELEMENTS THAT DEFINE ASIAN ART

KEY DIFFERENCES BETWEEN ASIAN AND EUROPEAN ART

SPIRITUAL APPROACH

In all forms of Asian art, regardless of its format, spirituality is a key part of the concept and its artistic descent. This is due to the strong influence of Buddhism, where the religious figure is reproduced with this approach.

The Buddhist influence had a special impact on Chinese, Indian, Japanese and Thai art, although it can be seen in all forms of Asian culture.

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BATIK

Art in the form of patterns dyed on cloth is a key part of Asian art. To create it, the artists had to use hot wax as a key tool. Depending on the complexity of the pattern to be made, the process could take up to two or three times longer than usual.

Some of the countries where Batik is most often seen is in Malaysia and Indonesia.

 

DELICATE IMAGES

As with Batik, the delicate imagery originates from India, approximately 2,000 years ago, although today it is more commonly associated with China. It consists of images painted on scrolls of cloth, using watercolors and ink video porno.

In these images, representations of nature predominate, where color and figures are the key distinction. The most predominant elements in this type of art are birds and flowers.

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CARVED WOODEN BLOCKS

If you have ever seen anime, you will surely know what we are talking about, since this element is very common in Chinese and Japanese art. In general, the images carved on these wooden trunks correspond to deities and other religious representations. For this reason, it is most common to find them in temples, cultural centers, etc.

Without a doubt, Asian art is vast and varied like no other. Do you know many more common elements? Share them with us in the comment box.

 

 

Details and information about the Indian sword

The sword was purchased in Jaipur in 1994, while I was travelling through India on the way to Kathmandu. I was unable to take it out of Nepal, and it has been kept there for ten years. After several years’ study in the area of history and heritage issues, I decided that my sword should be taken back to Jaipur, to be put in a museum for the benefit of all. Logistics and beaurocracy prevented me from doing this however, and the sword is still sitting in Kathmandu. An interesting story emerges as to why I was unable to do anything constructive with my sword, despite good intentions, contacts and considerable research and preparation.

Mrs Faith Singh of the Jaipur Virasat Foundation discusses my sword in the context of the problems facing cultural heritage management in Jaipur, the lack of good museum management and resources, and consequently what I should consider doing with my sword. Click here to listen to this conversation.

I met a history scholar in Jaipur, Mr Sinjhi, who told me all about my sword. Click here to listen to this part of my conversation with him, and click here to go to his interview page.

Nepal and India (2003)

In October and November 2003, I visited Nepal and India in an attempt to repatriate my antique Indian sword, which I bought in Jaipur in 1993, while backpacking across the Middle East, en route to Kathmandu.

My intention when I bought the sword was to take it home to England on a flight out of Kathmandu. However, due to political turmoil and rigorous checks at customs it was impossible to take the sword out of Nepal. I therefore had to leave it with family friends in Kathmandu who very kindly offered look after it, and with whom it has remained ever since.

I therefore decided to go back to Nepal in 2003, after a gap of ten years, to locate the sword, and attempt to take it back to Jaipur. After a degree and subsequent MA in ancient history and heritage preservation, I wanted the sword to be donated to a museum or other foundation in its place of origin so it could be studied, put on display, and properly looked after. I knew this would be a daunting task, and put six months into planning my trip to repatriate my sword – but was I successful?

Along the course of the journey I met and interviewed many leading figures from political, academic, and cultural heritage organisations.