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  1. The Theory Of Beauty In the Classical Aesthetics Of Japan
  2. Japanese aesthetics
  3. Japanese aesthetics - Wikipedia
  4. 1. Introduction

An exact replica was built on the original site in The result is breathtakingly spectacular—but totally un-Japanese. Old-time residents of Kyoto famously complained that it would take a long time for the building to acquire sufficient sabi to be worth looking at again. At the rate the patina seems to be progressing, probably several centuries. He would be delighted now to see Japanese cities reducing the ubiquitous glare of neon lighting and all-night electric illumination, in a dimming of unnecessary lights which thereby reintroduces some of the shadows he so eloquently praises.

Somehow, as if for some reason that we should be able to recall, tears well uncontrollably. Although few autumn leaves may be visible through the mist, the view is alluring.

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This passage instantiates a general feature of East-Asian culture, which favors allusiveness over explicitness and completeness. It is something rare, that is attained only by the greatest actors in the tradition, and only after decades of dedicated practice of the art. Taking the first steps towards reading his art calls on us to recognize a distinctive feature of Japanese landscape paintings, that is, as art objects they have a considerably expanded aesthetic status relative to similar works as interpreted within Western philosophical and art historical traditions.

Of course, the painting object itself is important, but key aesthetic value also lies in the bodily performance the work attests to. During his life, Zen was reaching prominence as a religious discipline, as were the related arts under Ashikaga patronage. Landscape painting was central to that movement. The aim is to give only a suggestion or a trace of trees, mountains, or waters, which appear to negate themselves as objects. Extreme abbreviation and abstraction are employed such that any form, if even discernible, is pushed as far as possible from objectivity without disappearing completely into formlessness.

A sensitive viewer does not simply perceive a representation of this event, but can sense the sweeping and spontaneous gestures that gave rise to the ephemerality of the scene. To disclose how this aesthetic-religious goal was approached in painting practice reveals the Daoist roots of Zen Buddhism. Acting spontaneously involves moving beyond the binary of activity or passivity; that is, the world moves the body as much as the body moves in the world.

All are bodily practices that seek to harmonize with the spontaneous motions of the dao through non-action. Because observers can harmonize their own bodies with the movements animating the painting, the work elicits more than aesthetic judgments, it is itself a site for cultivating religious-philosophic discipline.


The Theory Of Beauty In the Classical Aesthetics Of Japan

The techniques ranged from spontaneous washes and splashes to actual ink-flinging and dripping. Kuki wrote the first draft in while living in Paris, toward the end of a seven-year stay in Europe, and published the book shortly after returning to Japan in Kuki mentions the French esprit and the German Sehnsucht as terms that are similarly untranslatable, for similar reasons of cultural embeddedness Nara, 15— It is enhanced too by the moment of resignation, which Kuki understands as the Buddhist attitude of non-attachment to a world of impermanence. In nature, willow trees and slow, steady rain exemplify iki ; in the human body a slight relaxation, a voice of medium rather than high pitch, a face that is long rather than round, a certain tension and relaxation together of the eyes, mouth, and cheeks, the hand curved or slightly bent back.

The only colors that embody iki are certain grays, browns, and blues. In architecture the small four-and-a-half mat Zen teahouse is a paradigm of iki , especially insofar as it initiates an interplay between wood and bamboo. Lighting must be subdued: indirect daylight or else the kind of illumination provided by a paper lantern. Kuki thereby developed a sophisticated understanding of European philosophy and aesthetics, and was concerned after his return to Japan to apply methods he had learned to a Japanese aesthetic phenomenon.

Yet because the Japanese at that time, under geopolitical pressure to modernise more efficiently, were losing touch with their own traditions, Kuki took it as one of his tasks to celebrate the aesthetic values of the past Nara, 58— An unprejudiced reading of The Structure of Iki reveals no fascist tendencies whatsoever, and the nationalist themes are innocuous, simply calling for a remembering of what is valuable in the Japanese tradition and likely to be lost beneath the waves of modernization—in a world where connections with the past were withering and Japan was warding off the colonization of East and South Asia by the Western powers.

Kuki is a fascinating thinker, and The Structure of Iki , while occasionally tortuous because of its commitment to a strictly European methodology, illuminates some fascinating aspects of the Japanese aesthetic tradition while at the same time engaging the deepest levels of experience anywhere. The cut appears as a fundamental feature in the distinctively Japanese art of flower arrangement called ikebana. There is an exquisite essay by Nishitani Keiji on this marvelous art, in which organic life is cut off precisely in order to let the true nature of the flower to come to the fore Nishitani, 23—7.

In severing the flowers from their roots, Nishitani suggests, and placing them in an alcove itself cut off from direct light, as Tanizaki remarks , one is letting them show themselves as they truly are: as absolutely rootless as every other being in this world of radical impermanence. This stylization of the natural human walk draws attention to the episodic nature of life, which is also reflected in the pause between every exhalation of air from the lungs and the next inhalation. Through attending to the breath in zen meditation one becomes aware that the pause between exhalation and inhalation is different—more of a cut—from that between inhalation and exhalation.

This cut, which is in a way doubled by the angled roof that runs along the top of the wall and seems to cut it off, is most evident in the contrast between movement and stillness. Above and beyond the wall there is nature in movement: branches wave and sway, clouds float by, and the occasional bird flies past. But unless rain or snow is falling, or a stray leaf is blown across, the only movement visible within the garden is shadowed or illusory, as the sun or moon casts slow-moving shadows of tree branches on the motionless gravel.

The garden is cut off on the near side too, by a border of pebbles larger, darker, and more rounded than the pieces of gravel that runs along the east and north edges. The expanse of gravel is also cut through by the upthrust of the rocks from below: earth energies mounting and peaking in irruptions of stone.

The rock garden also embodies the central Buddhist insight of impermanence. Insofar as its being cut off from the surrounding nature has the effect of drying up its organic life, which then no longer decays in the usual manner. But just as plants look deceptively permanent thanks to their being rooted in the earth, so the rocks of the dry landscape garden give a misleading impression of permanence, especially when one revisits them over a period of years.

Ozu hardly ever uses any other transition than the cut, such as the wipe. After two shots of rocks in the garden, the camera angle reverses and we see the main protagonist with his friend—they are both fathers of daughters—sitting on the wooden platform with the tops of two rocks occupying the lower part of the frame. Two rocks and two fathers. Cut to a close-up of the fathers from their left side, with no rocks in view.

They talk about how they raise children who then go off to live their own lives. As they invoke such manifestations of impermanence, they remain motionless except for the occasional nod or turn of the head. Enlarged Sequence of Stills from Late Spring. In their brief conversation by the edge of the garden, the two fathers do little more than exchange platitudes about family life—and yet the scene is a profoundly moving expression of the human condition. It gains this effect from the assimilation of the figures of the two men to rocks, which seems to affirm the persistence of cycles of impermanence.

These images of assimilation capture one of the central ideas behind the dry landscape garden: that of the continuum between human consciousness and stone, which is also understandable as the kinship of awareness with its original basis. The first shot shows a shrine sculpture to the left of center and behind it an estuary with a boat chugging along to the right, in the direction of a gradual rise of hills on the horizon.

After ten seconds, just as the boat is about to disappear beyond the frame—there is a cut to the pavement on the side of a street. Eight small children in school uniform walk away from the camera to the right. Continuity is provided by a parallel between the river and horizon of the first scene and the horizontal lines of the pavement and houses in the second, as well as by the movement toward the right. A ninth child appears and as he passes the bottles and reaches the center of the frame—there is a cut to a shot over the roofs of houses of a train traveling to the right, with behind it the buildings of a shrine or temple, and then hills behind those.

Smoke issues from two chimneys at left and center, the scene lasting fifteen seconds. As the end of the train reaches the center of the frame—the sound continues but there is a cut to a closer shot of the train from the hill side, so that it is now moving up along a diagonal to the left. Behind the houses on the other side of the train is the estuary again.

The main line has reverted to a horizontal line rising toward the right. After six seconds, the shortest scene so far—there is a cut to a grandfather and grandmother sitting on the tatami matting of their home in the village, facing toward the right. Enlarged Sequence of Stills from Tokyo Story.

For each cut Ozu has arranged for at least one formal element to provide continuity kire-tsuzuki between the adjacent scenes. The photographs of the Silver Pavilion etc. Riehemann, and are reproduced here with her permission.

Japanese aesthetics

The image of Splashed Ink Landscape is in the public domain. Introduction 2. Mono no aware : the Pathos of Things 3. Wabi : Simple, Austere Beauty 4. Sabi: Rustic Patina 5.

Aesthetics Philosophy of the Arts

Iki : Refined Style 8. Kire : Cutting 9. Introduction Two preliminary observations about the Japanese cultural tradition are relevant to the arts. However, in many instances even this goes underappreciated due to either misrepresentation or lack of understanding for both the designer and the consumer.

Nothing is perfect.

Japanese aesthetics - Wikipedia

Nothing is complete. All things have a certain predefined course, they are born, they live, and they die.

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This unavoidable circle of life forms a strong cornerstone in the Japanese aesthetic philosophy. This is seen best in traditional Japanese architecture, as no building was meant to last for long. They were mostly made of wood that has a natural time limit. Unlike Western architecture, which is largely made of stone and carries the illusion of timelessness, Japanese temples and houses were reconstructed many times, sometimes altering the original design. Contemporary architects have redefined wabi-sabi within the context of minimal design.

Doing more with less, is a Modernist evolution of the wabi-sabi idea. The truth is that even exposed concrete can be wabi-sabi. Tadao Ando's buildings are a proof of that. Such arts can exemplify a wabi-sabi aesthetic. It is one of the oldest of the traditional Japanese aesthetic ideals, though perhaps not as prevalent as Wabi-sabi. In modern Japanese, the word is usually translated as "elegance," "refinement," or "courtliness" and sometimes referred to as "heart- breaker". The aristocratic ideal of Miyabi demanded the elimination of anything that was absurd or vulgar and the "polishing of manners, diction, and feelings to eliminate all roughness and crudity so as to achieve the highest grace.

Like other Japanese aesthetic terms, such as iki and wabi-sabi, shibui can apply to a wide variety of subjects, not just art or fashion. Shibui includes the following essential qualities. Roughly translated to "beginning, break, rapid", it essentially means that all actions or efforts should begin slowly, speed up, and then end swiftly.

The exact translation of the word depends on the context. In the criticism of Japanese waka poetry, it was used to describe the subtle profundity of things that are only vaguely suggested by the poems, and was also the name of a style of poetry. It is about this world, this experience. In her pathmaking book, Eiko Ikegami reveals a complex history of social life in which aesthetic ideals become central to Japan's cultural identities.

She shows how networks in the performing arts, the tea ceremony, and poetry shaped tacit cultural practices and how politeness and politics are inseparable. She contends that what in Western cultures are normally scattered, like art and politics, have been, and are, distinctly integrated in Japan. After the introduction of Western notions in Japan, Wabi Sabi aesthetics ideals have been re-examined with Western values, by both Japanese and non- Japanese.

Therefore, recent interpretations of the aesthetics ideals inevitably reflect Judeo-Christian perspectives and Western philosophy. Westernization has slowly paved way to the cultural suicide of Japan, where classical customs and traditions have become mere tourist attractions. However the subcultures that have sprung up by the morphing of traditional Japanese and western cultures give an identity to modern Japanese aesthetics. Rebuilding Urban Japan After Modern Architecture a Critical History.

Bridge of dreams: the Mary Griggs Burke collection of Japanese art. New Architecture in Japan. Related Papers. Impermanence in Japanese Aesthetics. By Alan Quinn.

1. Introduction

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