The Salt Maker - Essay Sample

Introduction

The Muromachi Period was an era in Japan whereby Ashikaga Takauji who was a warrior was commissioned by Kamakura between (1392-1573). During this period, there were different traditional practices that were held by the Japanese people (Shimizu & Wheelwright, 2006). The Salt Maker is a story that was mostly meant for general readers. However, in the Edo period, the story was modified so that it could include useful insights and history of the legends to make it appealing for the most elite audience. This story focuses on the life of Bunsh who was an attendant of Kashima shrine left this service so that he could become a wealthy salt maker. He was able to put a lot of efforts and good deeds hence devoted to the service of Kashima hence he was able to lead a happy life and cater for his family. Bunch was able to grow more wealthy and improve his social status from the wealth from marrying off his daughters (Mulhern, 2014). This article will focus on the differences and similarities of painting on people's faces. This paper will compare the paintings on the faces of traditional Chinese and Japanese faces. Lastly, the article will illuminate the similarities and differences in the use of landscape as the main symbol to show people's motion and story.

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Background Information

In the picture provided, the handscroll shows the alternation of beautiful calligraphy as well as the use of imaging styles with figures that have simplified facial features that represent the Japanese and Chinese facial paintings in the Muromachi Period. 'The Salt Maker' resonates on the emerging Japanese merchant culture during those early Edo periods that then became popular among the elites hence spreading to other parts of the region to reach the Chinese population.

Japanese and Chinese Face Strokes

Similarities

The face painting that is reflected in 'The Salt Maker' is referred to as the Kumadori which is the makeup of the Aragato Kabuki. The face painting strokes in the Japanese faces are similar to those of the Chinese faces. However, there are a few differences as well which make them unique. Both the Chinese and Japanese painting face strokes are totally different from realism as well as the more individualized basic makeup used in the western world. These facial paintings both have a traditional background that has been there for many generations hence they represent an ancient storytelling technique. Both the Japanese strokes and the Chinese strokes sophistically and stylistically beautify and also give emphasis on the stereotypical character and personality of a given role. In both settings, the actor who has had the facial strokes is seen and regarded as the show. In both the Chinese and the Japanese face strokes, their support stories are widely known historical epics and myths hence every person knows and can predict the plot and the flow of the story that is being told.

Differences

The Japanese stroke unlike the strokes on the Chinese faces, they are not masks but real paintings. The Chinese strokes are makeup facial drawings that are normally used in the Peking Opera. The Japanese Kumadori, however, allows for the extensive application of the facial strokes hence has a greater power of expression as it closely and carefully follows the actual facial features as well as the facial features, characteristics, and expression of the actor. The Chinese face painting practice is purely cultural and traditional. However, the Japanese use of transformational facial strokes can be traced back to the ancient and older religious rituals and practices (Kasahara, McCarthy & Sekimori, 2001). However, these face painting practices have evolved over time and such ceremonies are now theatres whereby face strokes have been retained as the main vehicle of the transformation of the actors that are performing so as to maintain some elements of ritual origins but with no specific religious context.

Use of Landscape as Symbols to Show People's Motion or Story

Similarities

From 'The Salt Maker', one can be able to appreciate the role of landscape painting to symbolize people's motion and tell a story. During the Muromachi Period, landscape painting was one of the most used approaches to vividly tell a story. Landscape painting which is also referred to as landscape art uses the natural scenery such as the valleys, mountains, forests and rivers among other natural resources known to man. The other background features that are used in the storytelling setting forms an important part of the work as they give more information that the storyteller wanted to pass across. Detailed landscapes are seen as a very distinctive subject and are found in many artistic traditions hence are used to represent other subjects.

The two main traditions that utilize landscape painting are from the Chinese and the Japanese cultures that go well back well over many years in both cases. The landscape painting in both cultures are similar since they are two entities that have been around for thousands of years and are used as symbols of people's motion and story as seen in 'The Salt Maker' that was told during the Muromachi Period. In both the landscape paintings are used for the representation of the spiritual elements and undertone of the art that begins in the Eastern Asia art which draws on the Daoism as well as other philosophical traditions (Munsterberg, 2011).

Differences

Japanese landscape painting views art as entirely an imaginary entity that has been copied from the visible reality with varying degree of accuracy as seen in 'The Salt Maker' during the Muromachi Period. However, the Chinese landscape painting also includes topographical view which depicts the actual place especially buildings. The topographical view is seen as inferior to the fine art landscapes. The Chinese court artists were able to introduce Topographical view by painting the real views which included places and cities.

Conclusion

The act of face painting has been around for many years as it is seen in 'The Salt Maker' that was written during the Muromachi Period. Traditionally, face painting strokes were used in various religious as well as cultural and traditional ceremonies. The two main communities that have been using face strokes are the Japanese and Chinese communities. Although the face painting practices have similarities such as the material used and the traditional undertone, they differ in the meaning as they are used symbolically and differently by different communities. Therefore, this is the basis of the above similarities and differences between the Japanese and the Chinese face strokes. In the modern world, face painting practices are being used in the theatres. The transformation of the use of these face strokes from religious ceremonies to the modern theatres is seen in many world cultures and they are able to retain the masking elements and makeup so as to allow the modern actors to portray mythological and supernatural figures. Landscape painting was used by both the Chinese and the Japanese by use of natural scenery as a symbol of people's motion and story as seen in 'The Salt Maker'.

References

Kasahara, K., McCarthy, P., & Sekimori, G. (2001). A history of Japanese Religion. Kosei Publishing Company.

Mulhern, C. I. (2014). Otogi-zoshi. Short Stories of the Muromachi Period. Monumenta Nipponica, 181-198.

Munsterberg, H. (2011). Landscape Painting of China and Japan. Tuttle Publishing.

Shimizu, Y., & Wheelwright, C. (Eds.). (2006). Japanese Ink Paintings From American Collections: The Muromachi Period. An Exhibition in Honor Of Shujiro Shimada (No. 10). Apr. 25-June 13.