The effects of the Chinese-Japanese painting as a formulation approach in art on the paintings of west

The study called ?The Effects of the Chinese-Japanese Painting as a Formulation Approach in Art on the Paintings of West? has revealed the characteristics of the factors and the influence which prepares for the encounter with the West of Chinese-Japanese tradition which played an important role in the formation of the modern painting in the 19th and 20th century. When the phases Chinese-Japanese painting had in the development period, its philosophy, topics and technical characteristics are examined, its sharp differences from the West painting can be observed. Like in the West, China and Japan has an art understanding shaped by the religious philosopy which has been an inevitable part of the civilizations. However, the ideas about the world of the West and the Far East traditionally differ from each other. While the West painting is a represantation of the formation and the solution to the problem from the artist, Chinese and Japanese painting which are based on Buddhism is a way of uncouncious expression. Painting is a performance by meditating of the artist who has gained a technical efficiency resulting from the long-term studies. Western artists have emulated to the Far East sometimes in a spiritual search and sometimes by imitiating the brush language. Chinese painting and calligraphy the basic materials of which are brush and ink have maintained its effectiveness on the artists, especially in America during the 20th century. When the factors which prepare for the modernizm in the 20th century are examined, it can be observed that 19th century has many yields not only with its social, scientific and technological developments but also with its differences on the style and topic. Colorful prints the origin of which dates back to China and arouse in the term of Edo have spoiled the classical form of the Western painting which was thought in Academies and the dictatorship of the illusion. The artists during the 19th century in which they started to give products to the art market experienced a troublesome term while trying to conduct their own art with their free wills, going out of the asylum of the churh and the palace. It was inevitable for the art to go along a different way with the inclusion of the invention of the photograph in the social developments. Japanese engravings accompany this development with their formal quality. Europe in the 19th century which had attempts to broaden its borders was discontent with the academical rules managing its art. The East-West interaction beginning with the signed commercial deals was shaped with the contributions of the authors who discovered the Japanese art with their personal interests or because of their diplomatic relations, maintained with the interest which surrounded Europe and ranged to the middle class, and started to decline with the break out of the First World War. In the 19th century on which the Chinese style could not be effective enough, the first phase was `Japonserie? used to express the alignment from the exotism to the imitation. The exhibitions held consecutively in the following years let the excitement spread to Europe and America. In the center of concern about Japanese art of the West in the 19th century, there was ukiyo-e which was a print on the wood blocks and used as packing papers. European artists have assimilated the principles which compose Japanese aesthetic conceit such as the asymmetry which was opposed to the Western thoughts and heritage, irregularity in the composition, arrangements without a center, absence of perspective, depth expressed with the systematic broken pieces, plain and bright colors during the `Japonism? phase. Japonese aesthetic has prepared for plenty of movements which rescued Western art from the academical adjustments and composed the modernism and today Japanese aesthetic still goes on affecting the Western awareness.