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    Nevertheless, within the diversity discernible patterns and inclinations can be recognized and characterized as Japanese.Most Japanese art bears the mark of extensive interaction with or reaction to outside forces.Whole structures of cultural expression, ranging from a writing system to political structures, were presented to the Japanese.Various theories have thus been posited which describe the development of Japanese culture and, in particular, visual culture as a cyclical pattern of assimilation, adaptation, and reaction.The aesthetic preference for refinement, for images subtly imbued with metaphoric meaning, reflected the sublimely nuanced court mores that permitted only oblique reference to emotion and valued suggestion over bold declaration.

    For example, during the 10th and 11th centuries of the Heian period, when, for political reasons, extensive contact with China ceased, there was consolidation and extensive development of distinctive Japanese painting and writing styles.Buddhism, which originated in India and developed throughout Asia, was the most persistent vehicle of influence.It provided Japan with an already well-established iconography and also offered perspectives on the relationship between the visual arts and spiritual development.Major immigrations of Chinese Chan (Japanese: Buddhist monks in the 13th and 14th centuries and, to a lesser degree, in the 17th century placed indelible marks on Japanese visual culture.These periods of impact and assimilation brought not only religious iconography but also vast and largely undigested features of Chinese culture.

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