What is the Japanese equivalent of the Chinese art of penjing?
"Penjing: The maintenance and care of penjing trees are similar to that of the bonsai. Penjing Penjing, also known as penzai, is the ancient Chinese art of depicting artistically formed trees, other plants, and landscapes in miniature. Penjing generally fall into one of three categories: Similar practices exist in other cultures, including the Japanese traditions of ""bonsai"" and ""saikei"", as well as the miniature living landscapes of Vietnamese ""hòn non bộ"". Generally speaking, tree ""penjing"" specimens differ from ""bonsai"" by allowing a wider range of tree shapes (more ""wild-looking"") and by planting them in bright-colored and creatively shaped pots. In"
"limited to observation or representation of nature, but is also influenced by Chinese poetry, calligraphy, and other visual arts. Common penjing designs include evocation of dragons and the strokes of well-omened characters. At its highest level, the artistic value of penjing is on par with that of poetry, calligraphy, brush painting and garden art. Styles of the traditional Penjing in China are mainly classified by the most representative (dominant) plants used, and named after the regions of their origin. Since different plants require different techniques to handle, different styles thus formed. There are more than a dozen styles of traditional"
"Chinese Piling paintings The Piling School was a genre of Chinese painting, named for its place of origin, now Changzhou in Jiangsu province. The style was influenced by contact with Japan, and examples are found almost exclusively in Japan and particularly in collections associated with the great Japanese Buddhist monasteries. Such paintings and associated art works are a reflection of the vigorous medieval overseas trade between China and Japan. Piling () itself was a part of Changzhou close to Lake Tai in Jiangsu Province. Many other genre artists can be associated with this general area. Although their surviving works are"
"or a panorama. As an art form, penjing is an extension of the garden, since it enables an artist to recreate parts of the natural landscape in miniature. Penjing is often used indoors as part of a garden's overall design, since it reiterates the landscape features found outside. Penjing pots grace pavilions, private studies or living rooms, and public buildings. They are either free-standing elements within the gardens or are placed on furniture such as a table or bookshelf. Sometimes a lattice display stand is built which adds particular prominence to the penjing specimen and exemplifies the interplay between architecture"
"of rocks, which simulated a waterfall, in the same garden: In Japanese culture, garden-making is a high art, equal to the arts of calligraphy and ink painting. Gardens are considered three-dimensional textbooks of Daoism and Zen Buddhism. Sometimes the lesson is very literal; the garden of Saihō-ji featured a pond shaped like the Japanese character ""shin"" (心) or ""xīn"" in Chinese, the heart-spirit of Chinese philosophy, the newspaper character is 心 but it's the full cursive, the ""sousho"" style (草書) for ""shin"" that would be used; ""sousho"", this well-named ""grass writing"", would be appropriate for gardening purpose indeed, for in"
"Zenga Zenga is the term for the practice and art of Zen Buddhist painting and calligraphy in the Japanese tea ceremony and also the martial arts. As a noun, Zenga is a style of Japanese calligraphy and painting, done in ink. In many instances, both calligraphy and image will be in the same piece. The calligraphy denotes a poem, or saying, that teaches some element of the true path of Zen. The brush painting is characteristically simple, bold and abstract. Though Zen Buddhism had arrived in Japan at the end of the 12th-century, Zenga (as here described) didn't come into"
"Chinese paper folding Chinese paper folding, or zhezhi (), is the art of paper folding that originated in medieval China. The work of 20th century Japanese paper artist Akira Yoshizawa widely popularized the Japanese word ""origami""; however, in China and other Chinese-speaking areas, the art is referred to by the Chinese name, ""zhezhi"". Traditional Chinese paper folding concentrates mainly on objects like boats or hats rather than the animals and flowers of Japanese origami. A recent innovation is from the Golden Venture migrants where large representational objects are made from modular forms. Paper was first invented by Cai Lun during"
"with its exclusive ink wash and stylized positioning of the birds. The earlier scrolls in the Chion-in Monastery however are examples of works displaying a greater animation and with their use of color a greater sensuous appeal. Chinese Piling paintings The Piling School was a genre of Chinese painting, named for its place of origin, now Changzhou in Jiangsu province. The style was influenced by contact with Japan, and examples are found almost exclusively in Japan and particularly in collections associated with the great Japanese Buddhist monasteries. Such paintings and associated art works are a reflection of the vigorous medieval"
"Lingnan penjing Lingnan penjing (Jyutping: Ling naam pun ging; Traditional Chinese: 嶺南盆景), sometimes called Cantonese penjing (Jyutping: Jyut paai pun ging; Traditional Chinese: 粵派盆景) is the style of penjing (called ""Pun-ging"" in Cantonese) of the Lingnan region - the mainly Cantonese-speaking Southern Chinese provinces of Guangdong and Guangxi. Despite being recognized only in early 20th century, this style can trace its roots to at least the 15th century. It is said that Lingnan penjing ""embraces nature"", and is not inclined to be bounded by rules or formula. It has been described as ""Spring from the Mother Nature, Exceed the Mother"
"of the Japanese tradition. The aesthetics of ""penjing"", a Chinese form of container-grown tree, are distinct from those of bonsai and are discussed elsewhere. The aesthetics of ""saikei"", Japanese multi-tree landscapes in a container, are also distinct and are not described in this article. Over centuries of practice, the Japanese bonsai aesthetic has encoded some important methods and aesthetic guidelines. Like the type of aesthetic rules that govern, for example, Western common practice period music, bonsai's guidelines help practitioners work within an established tradition with some assurance of success. Guidelines alone do not guarantee a successful result. Nevertheless, these design"
"than in any other nation. Standard Script (Kaishu) is main traditional script used today. Japanese writing evolved from Chinese script and Chinese characters, called kanji, or ideograms, were adopted to represent Japanese words and grammar. Kanji were simplified to create two other scripts, called hiragana and katakana. Hiragana is the more widely used script in Japan today, while katakana, meant for formal documents originally, is used similarly to italics in alphabetic scripts. Platt Rogers Spencer is known as the ""Father of American Penmanship"". His writing system was first published in 1848, in his book ""Spencer and Rice's System of Business"
"Pen spinning Pen spinning is a form of object manipulation that involves the deft manipulation of a writing instrument with one's hands. Although it is often considered a form of self-entertainment (usually in a school or office setting), multinational competitions and meetings are sometimes held. It is sometimes classified as a form of contact juggling; however, some tricks do leave contact with the body. Pen spinning is called pen mawashi or, more rarely and disparagingly, ""rōnin mawashi"" (""rejected student spinning"") in Japan, where the pastime has been popular since at least the 1970s and where the Pen Spinning Association Japan"
"by 1981 specialized in penjing, including over fifteen hundred once abandoned older specimens being maintained and in the initial stages of being retrained. The art of penjing would again become vastly popular in China, in part due to stability returning to most people's lives and the significantly improved economic conditions; growth would be most pronounced particularly in coastal provinces of Jiangsu, Zhejiang, Fujian, Guangdong as well as Shanghai. There would be increasing numbers of good public and private collections, the latter with anywhere from several hundred to several thousand pieces. By the end of 1981, the China Flower and Penjing"
"Tensho (kata) Tensho is a kata originating from Goju Ryu karate. Translated, it means ""revolving hands"", ""rotating palms"", or ""turning palms."" This kata emphasizes the soft aspects of Goju Ryu, and encompasses continuous, flowing movements. Tensho, along with its harder counterpart sanchin, was developed by Goju ryu founder Chojun Miyagi from earlier Chinese forms. Tensho may be a variant of the Southern Chinese Kung Fu form Rokkishu. Tensho was created in 1921 as ""softer sanchin"" by Chojun Miyagi to balance Go aspect of Heishugata (Sanchin-kata) with Ju variation for Heishugata. It combines hard dynamic tension with deep breathing and soft"
"from the tools (), which, much like tools of the tea ceremony, are valued as high art, to activities such the incense-comparing games kumikō and genjikō. For kumikō, participants sit near one another and take turns smelling incense from a censer as they pass it around the group. Participants comment on and make observations about the incense, and play games to guess the incense material. Genjikō is one such game, in which participants are to determine which of five prepared censers contain different scents, and which contain the same scent. Players' determinations (and the actual answers) are recorded using ""genji-mon"""
"Sanshin The sanshin (, literally ""three strings"") is an Okinawan musical instrument and precursor of the mainland Japanese (and Amami Islands) shamisen ( ). Often likened to a banjo, it consists of a snakeskin-covered body, neck and three strings. Its close resemblance in both appearance and name to the Chinese sanxian suggests Chinese origins, the then Ryūkyū Kingdom (pre-Japanese Okinawa) having very close ties with Imperial China. In the 16th century, the sanshin reached the Japanese trading port at Sakai in Osaka, Japan. In mainland Japan, it evolved into the larger shamisen, and many people refer to the sanshin as"
"Hojōjutsu Hojōjutsu (捕縄術), or Torinawajutsu (捕縄術), or just Nawajutsu (縄術), is the traditional Japanese martial art of restraining a person using cord or rope (said ""nawa"" 縄 in Japanese). Encompassing many different materials, techniques and methods from many different schools, Hojōjutsu is a quintessentially Japanese art that is a unique product of Japanese history and culture. As a martial arts practice, Hojōjutsu is seldom if ever taught on its own but as part of a curriculum under the aegis of the body of study encompassed by a larger school of bugei or budō, often as an advanced study in jujutsu."
"research, discovery, or creation of plants that are permanent, genetic miniatures of existing species. Plant dwarfing often uses selective breeding or genetic engineering to create dwarf cultivars. Bonsai does not require genetically dwarfed trees, but rather depends on growing small trees from regular stock and seeds. Bonsai uses cultivation techniques like pruning, root reduction, potting, defoliation, and grafting to produce small trees that mimic the shape and style of mature, full-size trees. The Japanese art of bonsai originated from the Chinese practice of penjing. From the 6th century onward, Imperial embassy personnel and Buddhist students from Japan visited and returned"
"its own until the beginning of the Edo period in 1600. In keeping with individual paths to enlightenment, nearly any subject matter can lend (and has lent) itself to Zenga. Everything from a cat, to a bamboo shoot, to a man defecating in a field has been used to illustrate a particular point - although enso, sticks and Mt. Fuji are the most common elements. Zenga Zenga is the term for the practice and art of Zen Buddhist painting and calligraphy in the Japanese tea ceremony and also the martial arts. As a noun, Zenga is a style of Japanese"
"Chinese characters it uses into scripts called kana. However kanji are still used in preference over kana in many contexts, and a large part of children's schooling is learning kanji. Moreover, Japan has tried to hold on to handwriting as an art form while not compromising the more modern emphasis on speed and efficiency. In the early 1940s, handwriting was taught twice, once as calligraphy in the art section of school curricula, and then again as a functional skill in the language section. The practical function of penmanship in Japan did not start to be questioned until the end of"
"large workshops or factories by essentially unknown artists, especially in Chinese ceramics. Japanese art covers a wide range of art styles and media, including ancient pottery, sculpture, ink painting and calligraphy on silk and paper, ""ukiyo-e"" paintings and woodblock prints, ceramics, origami, and more recently manga—modern Japanese cartooning and comics—along with a myriad of other types. It has a long history, ranging from the beginnings of human habitation in Japan, sometime in the 10th millennium BCE, to the present. The first settlers of Japan, the Jōmon people (c. 11,000–300 BCE). They crafted lavishly decorated pottery storage vessels, clay figurines called"
"strict adherence to traditional styling and display guidelines. Classical Chinese gardens often contain arrangements of miniature trees and rockeries known as penjing. These creations of carefully pruned trees and rocks are small-scale renditions of natural landscapes. They are often referred to as living sculptures or as three-dimensional poetry. Their artistic composition captures the spirit of nature and distinguishes them from ordinary potted plants. The container known as the ""pen"" originated in Neolithic China in the Yangshao culture as an earthenware shallow dish with a foot. It was later one of the vessels manufactured in bronze for use in court ceremonies"
"had little access to original Chinese works (or to meeting the literati themselves), the lifestyle, attitude, and art changed considerably in Japan. Outside of native Japanese inspirations, these ""bunjin"" gained Chinese influence only through woodblock-printed art books which attempted to reproduce and communicate the Southern School ideals and methods. The Southern School (C: ""nanzhonghua"", J: ""nanshūga"") came to be known as ""nanga"" in Japan. Japanese literati painters had a huge variety of social backgrounds (feudal lords and their retainers, samurai, merchants, and even fishermen), although they emulated the Chinese literati lifestyle. The scholars, scholarly civil servants, or literati of Imperial"
"century A.D. In much of the West, the term origami is used synonymously with paper folding, though the term properly only refers to the art of paper folding in Japan. Other forms of paper folding include Zhezhi (Chinese paper folding), Jong-i.e.-jeop-gi, from Korea, and Western paper folding, such as the traditional paper boats and paper planes. Papel picado, as practiced in Mexico and other places in Latin America is done using chisels to cut 50 to a hundred sheets at a time, while Chinese paper cutting uses knives or scissors for up to 8 sheets. Wycinanki and other European forms"
"Nanga (Japanese painting) , also known as , was a school of Japanese painting which flourished in the late Edo period among artists who considered themselves literati, or intellectuals. While each of these artists was, almost by definition, unique and independent, they all shared an admiration for traditional Chinese culture. Their paintings, usually in monochrome black ink, sometimes with light color, and nearly always depicting Chinese landscapes or similar subjects, were patterned after Chinese literati painting, called ""wenrenhua"" () in Chinese. The name ""nanga"" is an abbreviation of ""nanshūga"", referring to the Chinese Southern School of painting (""nanzhonghua"" in Chinese)."
"Hòn Non Bộ Hòn Non Bộ (Chữ Nôm: 𡉕𡽫部) is the Vietnamese art of making miniature landscapes, imitating the scenery of the islands, mountains and surrounding environment as found in nature. It is a particular local development of the Chinese art of ""penjing"", as was ""bonsai"" in Japan. The phrase ""Hòn Non Bộ"" comes from the Vietnamese language: ""Hòn"" 𡉕 means Island, ""Non"" 𡽫 means Mountain, and ""Bộ"" 部 means a combination of water, mountain range and forest, or it can also mean ""imitating the way the scenery looks in miniature"". ""Hòn Non Bộ"" may be quite large and elaborate"
"arts with the other arts). All of these arts are a form of tacit communication and we can, and do, respond to them by appreciation of this tacit dimension. Ensō (円相) is a Japanese word meaning ""circle"". It symbolizes the Absolute, enlightenment, strength, elegance, the Universe, and the void; it also may be taken to symbolize the Japanese aesthetic itself. Zen Buddhist calligraphists may ""believe that the character of the artist is fully exposed in how she or he draws an ensō. Only a person who is mentally and spiritually complete can draw a true ensō. Some artists will practice"
"specialists to becoming a widely popular art form and hobby. In Itami, Hyōgo (near Osaka), Japanese scholars of Chinese arts gathered in the early 19th century to discuss recent styles in the art of miniature trees. Many terms and concepts adopted by this group were derived from the (""Manual of the Mustard Seed Garden"" in English; in Japanese).The Japanese version of potted trees, which had been previously called or other terms, were renamed ""bonsai"" (the Japanese pronunciation of the Chinese term penzai). This word connoted a shallow container, not a deeper bowl style. The term ""bonsai"", however, would not become"
"of woodblock prints that exemplifies the characteristics of pre-Meiji Japanese art. Because these prints could be mass-produced, they were available to a wide cross-section of the Japanese populace — those not wealthy enough to afford original paintings — during their heyday, from the 17th to 20th century. is the Japanese art of flower arrangement. It has gained widespread international fame for its focus on harmony, color use, rhythm, and elegantly simple design. It is an art centered greatly on expressing the seasons, and is meant to act as a symbol to something greater than the flower itself. Shintoism and Buddhism"
"Fuji (planchette writing) Fuji () is a method of ""planchette writing"", or ""spirit writing"", that uses a suspended sieve or tray to guide a stick which writes Chinese characters in sand or incense ashes. Beginning around the Ming Dynasty (1368-1644 CE), the ""fuji"" method and written characters changed from 扶箕 ""support the sieve"" (spirit-writing using a suspended sieve or winnowing tray) to 扶乩 ""support the planchette"" (directing a stick or stylus, typically made from a willow or peach branch, and roughly resembling a dowsing-rod). Chinese ""fuji"" spirit-writing involves some specialized vocabulary. ""Luan"" (鸞) ""a mythical phoenix-like bird"" is used in"
"during the Tang dynasty (although the Chinese classic anthology of poetry, ""Shijing"", was well known by the literati of Japan by the 6th century). Under the influence of the Chinese poets of this era Japanese began to compose poetry in Chinese ""kanshi""); and, as part of this tradition, poetry in Japan tended to be intimately associated with pictorial painting, partly because of the influence of Chinese arts, and the tradition of the use of ink and brush for both writing and drawing. It took several hundred years to digest the foreign impact and make it an integral part of Japanese"
"the great differences in culture and environment of the Japanese literati as compared to their Chinese counterparts. The form was to a great extent defined by its rejection of other major schools of art, such as the Kanō school and Tosa school. In addition, the literati themselves were not members of an academic, intellectual bureaucracy as their Chinese counterparts were. While the Chinese literati were, for the most part, academics aspiring to be painters, the Japanese literati were professionally trained painters aspiring to be academics and intellectuals. ""Nanga"" or ""bunjinga"" paintings almost always depicted traditional Chinese subjects. Artists focused almost"
"Sennin The Japanese term sennin is a loanword from Middle Chinese ""SenNyin"" 仙人 ""immortal person"", known also as ""xian"" ""immortal; transcendent; genie; mage; djinn; sage; hermit"" in Daoism. ""Sennin"" is a common Japanese character name. For example, ""Ikkaku Sennin"" (一角仙人 ""One-horned Immortal"") was a Noh play by Komparu Zenpō (金春禅鳳, 1454–1520?). The Japanese legend of Gama Sennin (蝦蟇仙人 ""Toad Immortal"") is based upon Chinese Liu Hai, a fabled 10th-century alchemist who learned the secret of immortality from the Chan Chu (""Three-legged Money Toad""). Sennin image was perpetuated in many Japanese legends, art, miniature sculpture (netsuke). It is the wooden netsuke,"