A history of Japanese illustration (二)

Buddhism, arriving from China from the 6th century onwards, also brought with it a pre-existing style and range of iconography that melded with early Japanese illustrative norms. The influence of Zen was particularly strong, and had a lasting effect: the importance of balance, symmetry and empty space are still seen in works today, along with the concept of wabi-sabi that emphasises the beauty of transience and impermanence, underpinning the ethereal nature of so much Japanese art.

No greater representation of this philosophy can be found than in the universal reverence of sakura, or cherry blossom, both in art and deep in the Japanese psyche. Their striking yet brief bloom demonstrates not only the exquisite yet ephemeral nature of life, but a sense of mono no aware; an acceptance that all beauty is fleeting and tinged with a sadness for its eventual passing. As well as the blossoms holding a crucial part in the Japanese consciousness, the wood of the cherry tree could also be used for block printing art production.

Dragons, demons, tigers, gods and other Asian motifs also appeared in familiar forms, yet the illustration of the human face took on a distinctly blank, feature-light appearance, generally consisting only of thick eyebrows, thin eyes, a hooked nose and a mouth. This sparseness of detail serves to accentuate the impact of the existent parts of the illustration; yet is also represents an area of potentiality, asking the viewer to read between the lines and fill in the gaps.

This approach - leaving what is undrawn or unsaid to convey meaning - is an undeniable hallmark of Japanese communication, and clearly visible in its art throughout the years. The artistic mores of a country are intertwined inexorably with its culture and language; Japan is far from an exception to this rule.