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The history of Eastern art includes a vast range of influences from various cultures and religions. Developments in Eastern art historically parallel those in Western art, in general a few centuries earlier.〔''The Meeting of Eastern and Western Art'', Revised and Expanded edition (Hardcover) by Michael Sullivan,〕 African art, Islamic art, Jewish art, Indian art,〔() NY Times, Holland Cotter, accessed online October 27, 2007〕 Korean art, Chinese art, and Japanese art〔Japonisme: The Japanese Influence on Western Art Since 1858 (Paperback) by Siegfried Wichmann# Publisher: Thames & Hudson; New Ed edition (November 19, 1999), ISBN 0-500-28163-7, ISBN 978-0-500-28163-5〕 each had significant influence on Western art, and, vice versa.〔''The Meeting of Eastern and Western Art'', Revised and Expanded edition (Hardcover) by Michael Sullivan, Publisher: University of California Press; Rev Exp Su edition (June 1, 1989), ISBN 0-520-05902-6, ISBN 978-0-520-05902-3〕 ==Balinese art== (詳細はHindu-Javanese origin that grew from the work of artisans of the Majapahit Kingdom, with their expansion to Bali in the late 13th century. From the 16th until the 20th centuries, the village of Kamasan, Klungkung (East Bali), was the centre of classical Balinese art. During the first part of the 20th century, new varieties of Balinese art developed. Since the late twentieth century, Ubud and its neighboring villages established a reputation as the center of Balinese art. Ubud and Batuan are known for their paintings, Mas for their woodcarvings, Celuk for gold and silver smiths, and Batubulan for their stone carvings. Covarrubias〔 〕 describes Balinese art as, "... a highly developed, although informal Baroque folk art that combines the peasant liveliness with the refinement of classicism of Hinduistic Java, but free of the conservative prejudice and with a new vitality fired by the exuberance of the demonic spirit of the tropical primitive". Eiseman correctly pointed out that Balinese art is actually carved, painted, woven, and prepared into objects intended for everyday use rather than as ''object d 'art.''〔 〕 In the 1920s, with the arrival of many western artists, Bali became an artist enclave (as Tahiti was for Paul Gauguin) for avant-garde artists such as Walter Spies (German), Rudolf Bonnet (Dutch), Adrien-Jean Le Mayeur (Belgian), Arie Smit (Dutch) and Donald Friend (Australian) in more recent years. Most of these western artists had very little influence on the Balinese until the post-World War Two period, although some accounts over-emphasise the western presence at the expense of recognising Balinese creativity. This groundbreaking period of creativity reached a peak in the late 1930s. A stream of famous visitors, including Charlie Chaplin and the anthropologists Gregory Bateson and Margaret Mead, encouraged the talented locals to create highly original works. During their stay in Bali in the mid-1930s, Bateson and Mead collected over 2000 paintings, predominantly from the village of Batuan, but also from the coastal village of Sanur.〔 〕 Among western artists, Spies and Bonnet are often credited for the modernization of traditional Balinese paintings. From the 1950s onwards Baliese artists incorporated aspects of perspective and anatomy from these artists.〔 〕 More importantly, they acted as agents of change by encouraging experimentation, and promoted departures from tradition. The result was an explosion of individual expression that increased the rate of change in Balinese art. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「History of Eastern art」の詳細全文を読む スポンサード リンク
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