japanese heian period art is known for its
Heian period Despite their usurpation of imperial authority, the Fujiwara presided over a period of cultural and artistic flowering at the imperial court and among the aristocracy. There was great interest in graceful poetry and vernacular literature. Two types of phonetic Japanese script: katakana, a simplified script that was developed by using parts of Chinese characters, was abbreviated to hiragana, a cursive syllabary with a distinct writing method that was uniquely Japanese. Hiragana gave written expression to the spoken word and, with it, to the rise in Japan's famous vernacular literature, much of it written by court women who had not been trained in Chinese as had their male counterparts. Three late tenth century and early eleventh century women presented their views of life and romance at the Heian court in Kagerō Nikki by "the mother of Fujiwara Michitsuna", The Pillow Book by Sei Shōnagon and The Tale of Genji by Murasaki Shikibu. Indigenous art also flourished under the Fujiwara after centuries of imitating Chinese forms. Vividly colored yamato-e, Japanese style paintings of court life and stories about temples and shrines became common in the mid-to-late Heian period, setting patterns for Japanese art to this day.
Three wise monkeys The source that popularized this pictorial maxim is a 17th-century carving over a door of the famous Tōshō-gū shrine in Nikkō, Japan. The carvings at Toshogu Shrine were carved by Hidari Jingoro, and believed to have incorporated Confucius’s Code of Conduct, using the monkey as a way to depict man’s life cycle. There are a total of eight panels, and the iconic three wise monkeys picture comes from panel 2. The philosophy, however, probably originally came to Japan with a Tendai-Buddhist legend, from China in the 8th century (Nara Period). It has been suggested that the figures represent the three dogmas of the so-called middle school of the sect.