Japanese Art - Artists

Artists

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Traditionally, the artist was a vehicle for expression and was personally reticent, in keeping with the role of an artisan or entertainer of low social status. The calligrapher, a member of the Confucian literati class, or noble samurai class in Japan, had a higher status, while artists of great genius were often recognized in the Kamakura period by receiving a name from a feudal lord and thus rising socially. The performing arts, however, were generally held in less esteem, and the purported immorality of actresses of the early Kabuki theater caused the Tokugawa government to bar women from the stage; female roles in Kabuki and Noh thereafter were played by men.

After World War II, artists typically gathered in arts associations, some of which were long-established professional societies while others reflected the latest arts movement. The Japan Artists League, for example, was responsible for the largest number of major exhibitions, including the prestigious annual Nitten (Japan Art Exhibition). The P.E.N. Club of Japan (P.E.N. stands for prose, essay, and narrative), a branch of an international writers' organization, was the largest of some thirty major authors' associations. Actors, dancers, musicians, and other performing artists boasted their own societies, including the Kabuki Society, organized in 1987 to maintain this art's traditional high standards, which were thought to be endangered by modern innovation. By the 1980s, however, avant-garde painters and sculptors had eschewed all groups and were "unattached" artists.

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Famous quotes containing the word artists:

    Modern conquerors can kill, but do not seem to be able to create. Artists know how to create but cannot really kill. Murderers are only very exceptionally found among artists.
    Albert Camus (1913–1960)

    of artists dying in childbirth, wise-women charred at the stake,
    centuries of books unwritten piled behind these shelves;
    and we still have to stare into the absence
    of men who would not, women who could not, speak
    to our life—this still unexcavated hole
    called civilization, this act of translation, this half-world.
    Adrienne Rich (b. 1929)

    In dealings with scholars and artists we are apt to miscalculate in opposite directions: behind a remarkable scholar we sometimes, and not infrequently, find a mediocre man, and behind a mediocre artist, fairly often—a very remarkable man.
    Friedrich Nietzsche (1844–1900)