The cultural linkage between India and Japan
Christine Shimizu starts by reviewing that the creative medium which she will talk is situated in Calcutta (Bengal) which is then the capital of the British Raj and until 1912. This region is the biggest of the Raj. In 1905, it is isolated in two sections by Lord Curzon, Viceroy of the Indies, so as to debilitate the political cases. This making of two states, one Hindu larger part and the other Muslim has brought about a patriot development: Swadeshi (development for "independence" of India).
During this period, the Bengali bourgeoisie had rich houses worked in Jorasanko, the northern area of Calcutta. The Tagore family is one of them. It assumes a definitive job in relations among Japan and India and has an incredible impact in the "Bengal Renaissance" development. Notwithstanding Rabindranath Tagore (1861-1941), the renowned artist and Nobel Prize victor, the family is a rich scholarly milieu of artists, authors and painters. In 1877, R. Tagore dispatches a scholarly and masterful diary Bharati where will be repeated works of art of the vanguard of Indian innovation.
Another character who assumes a significant job in this social milieu of Calcutta is Margaret Noble (1867-1911), known as Sister Nivedita. This Irish lady, who followed the master Swami Vivekananda (1863-1902), himself a pupil of Ramakrishna, shows up at Calcutta in 1898. An uncommon lady, she commits herself to the Indian reason and, social labourer, to the reason for ladies. Extremely near the Indian scholarly circles of Calcutta and Rabindranath Tagore, she is against the British impact and contends that the historical backdrop of India must be composed by Indians and that the masterful and abstract recharging must have its foundations in India End 1901, Sister Nivedita presents Okakura Kakuzō (1862-1913) to India in Rabindranath Tagore. After this gathering, Rabindranath Tagore will consistently show enthusiasm for Japanese culture and craftsmanship as confirm by the format of his home in Jorasanko. Okakura is the head of the Tôkyô School of Fine Arts, established in 1889. With his book The Ideals of the East ("The Ideals of the East") distributed in 1883, it is a forerunner of the dish Asian development. The primary sentence of his book, Asia is one, stresses its longing to see Asia recover its qualities even with the West. In this way, does he need Nihonga painting, an artistic creation utilizing conventional Japanese methods, to involve a focal spot in instruction against Yōga painting?, Western-style oil painting.
As indicated by him, contemporary Japanese craftsmanship must be an expansion of old workmanship. In his school, Okakura requests that understudies duplicate antiquated works of art and models so as to inundate themselves in Japanese progress. He should leave due to contrasts of assessment and will begin his own school in 1898. Okakura's inclined thoughts have reverberated in the Indian freedom cause, and Sister Nivedita by marking the foreword to her book called "Nivedita de Ramakrishna-Vivekananda" engraves the book in the development of the Indian politico-strict development.