Japanese aesthetics is a set of ideas about the canons of beauty in Japanese art: a set of ancient ideals that include wabi (transient and severe beauty), sabi (the beauty of natural patina and wilting) and yugen (deep mystery and sophistication) [1] . These and other ideals make up most of the Japanese cultural and aesthetic norms of what is considered beautiful and tasteful [2] . If Western civilization perceives aesthetics as a philosophy (in its theoretical dimension), then the concept of aesthetics in Japan is seen as an integral part of everyday life. Modern Japanese aesthetics includes many ideals: some of them are traditional while others are modern, including those introduced from other cultures [1] .
Content
Shintoism and Buddhism
Shintoism is considered a phenomenon at the origins of Japanese culture. [3] By emphasizing the integrity of nature and personality in ethics, as well as paying particular attention to natural landscapes, he sets the tone for Japanese aesthetics. Nevertheless, the ideals of Japanese aesthetics are more influenced by Japanese Buddhism [4] In the Buddhist tradition, all things are considered as either evolving from “nothing” or dissolving in it. However, “nothing” is not just empty space. Rather, it is a space of potential opportunities. For example, if the sea is a “space of possibilities”, then every thing is like a wave arising from the sea and returning back. There are no invariable waves: at any stage of its existence the wave is not completed, even at its peak. Thus, nature is seen here as a dynamic unity that should be appreciated and respected. Such an assessment of nature is fundamental to many Japanese aesthetic ideals, art and other elements of culture. In this regard, the Japanese concept of art (as well as the concept itself) also differs from that adopted in Western tradition.
Wabi Sabi
The principles of wabi and sabi belonged to a thoughtful approach to everyday life. Over time, their meanings partially coincided and converged in such a way that they were united in wabi-sabi, an aesthetics defined as the imperfect, impermanent, and incomplete beauty of things [5] Things that become or break down, in some way, more evoke thoughts about wabi sabi than things in the full bloom of their beauty, since the former suggest the idea of fleeting existence. Since all things, in the diversity of his things, come and go, Wabi Sabi shows signs of leaving and coming, and these signs are considered beautiful. From this point of view, beauty is associated with a special state of consciousness and can be seen in prosaic and simple. Signs of nature can be so inconspicuous that it takes a calm mind and a sophisticated look to recognize them. [6] Zen philosophy offers 7 aesthetic attributes that contribute to the discretion of Wabi Sabi : [7]
fukinsay - asymmetry, irregularity;
kanso - simplicity;
koko - poverty, shabbiness;
shizen - lack of pretense, being natural;
yugen - subtle deep grace, non-obviousness;
datsuzoku - non-compliance with conventional opinion, freedom;
seijjaku - calm.
All of the above can be found in nature, but can also be considered a virtue of a human nature and the appropriateness of behavior. This, in turn, suggests that virtue and courtesy can be instilled through an understanding of the art and practice of the latter. Consequently, aesthetic ideals have an ethical connotation and permeate most of Japanese culture [8] .
Miyabi
Miyabi (雅) is one of the oldest traditional Japanese aesthetic ideals, although it may not be as common as iki or wabi sabi. In modern Japanese, this word is usually translated as "elegance", "sophistication" or "sophistication". The aristocratic ideal of Miyabi demanded the destruction of everything that was absurd or vulgar, as well as the refinement of manners, style and feelings, in order to eliminate all roughness and rudeness and achieve the highest grace, elegance of sophistication, courtesy [9] . Miyabi expressed a sensitivity to beauty, which was a hallmark of the Heian era. Miyabi is often associated with the concept of mono: a bittersweet awareness of the transience of things. Therefore, it was believed that things in their decline showed a strong feeling of miyabi.
Shibuy
Shibuy (渋 い) (adjective), sibumi (渋 み) or sibusa (渋 さ) (noun) are Japanese terms that refer to the aesthetics of simple, subtle and unobtrusive beauty. Originating during the Muromachi period (1336-1392), the term originally referred to a sour or astringent taste, such as the taste of immature persimmons - as opposed to sweet and sugary. Shibuy retains this literal meaning and remains the antonym of Amai (甘 い), which means "sweet." Like other Japanese aesthetic terms such as iki and wabi sabi , shibuy can be applied to a wide range of subjects, not just art or fashion.
Sibusa includes the following essential qualities:
- Shibuya objects seem simple in general, but they include subtle details, such as textures, that balance simplicity with complexity.
- This balance of simplicity and complexity ensures that a person does not get tired of the shibu object, but constantly finds new meanings and more developed beauty. This leads to the fact that the aesthetic value of the object is constantly growing over time.
- Sibus should not be confused with a wabi or sabi . Although many wabi or sabi objects are shibuy, not all shibuy objects are wabi or sabi . Wabi or sabi objects can be more severe and sometimes deliberately expose imperfections to such an extent that they may seem artificial. Shibuya objects are not necessarily imperfect or asymmetrical, although they may include these qualities.
- Sibumi draws a fine line between contrasting aesthetic concepts such as elegant and crude, spontaneous and restrained.
Iki
Iki (粋) is a traditional aesthetic ideal in Japan. It is believed that the basis of iki was formed among the urban commercial estate in Edo during the Tokugawa period (1603-1868). Iki expresses simplicity, sophistication, spontaneity and originality, but is not, however, too sophisticated and pretentious. Iki can mean a personality trait or relate to artificial phenomena that manifest human will or consciousness. Iki is not used to describe natural phenomena, but can be expressed in a person’s assessment of natural beauty or in human nature. In Japanese culture, the term iki, applied to a person, is usually used to describe particularly aesthetically attractive qualities and is an honorable compliment. Despite the similarity of iki with wabi sabi (neglecting perfection), iki also covers a wide range of other characteristics associated with sophistication and grace. Not devoid of taste manifestations of sensitivity can also be iki, which, thus, can also have an erotic connotation [10] . Although etymologically iki has a root, which means purity and genuine character, nevertheless, this root also carries the meaning of thirst (or taste) of life [11] .
Eugene
Jugen (幽 玄) is an important concept in traditional Japanese aesthetics. The exact translation of this term depends on the context. In Chinese philosophical texts, from which the term was borrowed, yugen meant "foggy", "deep" or "mysterious." In critical analysis of Japanese waka poetry, the term was used to describe the subtle, elusive depth of things, which is only vaguely conveyed in verse. In addition, one of the ten orthodox styles of poetry highlighted by the Japanese poet and philosopher Fujiwara no Teyka in his treatises is also called yugen.
Eugene suggests something that remains beyond the scope of verbal expression, but without attributing it to any other, other world [12] . We are talking about this world and this world experience.
All of the following are examples of Eugen:
"Watch the sun go down over a hill covered with flowers. Wander in a huge forest, not thinking about returning. Stand on the shore and watch the boat, which disappears behind the distant islands. To contemplate the flight of wild geese seen and lost among the clouds. And the subtle shadows of bamboo on bamboo. " Zeami Motokiyo
Zeami Motokiyo was the creator of the Drama Theater. He wrote the classic book on dramatic theory (Kadensho). Motokiyo constantly uses images of nature as a metaphor. For example, "snow in a silver bowl" is a "flower of peace." In his interpretation, Eugene means "a deep, mysterious sense of the beauty of the universe ... and the sad beauty of human suffering" [13] . Jugen is also used by Zeami Motokiyo to denote “refined elegance” [14] .
Kawaii
Pretty or Kawaii (可愛 い, cute, delicious, cute) is a modern phenomenon that has arisen since the 70s and has become a prominent part of the aesthetics of Japanese popular culture: entertainment, clothing, food, toys, appearance, and manners [15] . As a cultural phenomenon, Kawaii is becoming increasingly perceived in Japan as part of its culture and national identity.
Toyuyuki Sugiyama, the author of Cool Japan, believes that “loveliness” is rooted in Japanese culture that has always sought harmony, and Nobuyoshi Kurita, a professor of sociology at the University of Musashi in Tokyo, notes that “ Kawaii ” is a “magic term” that encompasses everything that is acceptable and desirable in Japan [16] .
Aesthetics and Japanese Cultural Identity
By its nature, aesthetics for Japan have a broader significance than is usually attached to aesthetics in the West. So, for example, in one of his works [17] Eiko Ikegami reveals the complex history of Japanese public life, in which aesthetic ideals became central to the cultural identity of Japan. Eiko Ikegami shows how the interweaving of theatrical art, the tea ceremony, and poetry implicitly shaped cultural practices, as well as the Japanese understanding of how politeness and politics are inseparable. In her opinion, those areas of public life (such as art and politics) that stand apart in the West were and are integrated in Japan.
Researchers note that after the introduction of Western ideals in Japan, the aesthetic ideals of Wabi Sabi were largely revised. Therefore, recent interpretations of aesthetic ideals inevitably reflect Judeo-Christian perspectives and Western philosophy [18] .
Aesthetics and Japanese cooking
Many traditional Japanese aesthetic criteria are manifested as part of the diverse elements of Japanese cuisine [19] . One of such aesthetic principles that find expression including and in cooking, is "submission (or following) the essence of the object." It consists in the fact that a person should limit his own willfulness in front of the objects of the world and treat them with respect, allowing the phenomena of the world to express their essence. In culinary, this is achieved by the fact that each ingredient of a Japanese dish is prepared and served on the table strictly separately from the others in such a way as to preserve and express their own visual and taste characteristics, while in the Western culinary tradition the mixture of dish components to please the tastes predominates. In addition, a kind of serving can also serve as an element of such aesthetization of food: fish, for example, can and should be served on a table on a wave-like spit in order to indicate the form of its movement in water. This respects the essence of the fish. Thus, the concise principle of Japanese food aesthetics is to make fish more "fishy" and rice more "rice" [20] .
Another aesthetic principle in Japanese cooking is Kaiseki (懐 石). Kaiseki consists in enjoying the contemplation of dishes, utensils, the taste of exquisite products, a carefully thought-out menu, and time spent together.
Notes
- ↑ 1 2 Graham Parkes. Japanese Aesthetics // The Stanford Encyclopedia of Philosophy / Edward N. Zalta. - Metaphysics Research Lab, Stanford University, 2017.
- ↑ Teaching Japanese Aesthetics: Whys and Hows for Non-Specialists - American Society For Aesthetics . aesthetics-online.org. Date of treatment January 4, 2018.
- ↑ Jean Herbert. Shinto. At the fountain-head of Japan. - 1967.
- ↑ Japanese Aesthetics, Wabi-Sabi, and the Tea Ceremony, web page hosted by the North Texas Institute for Educators on the Visual Arts (University of North Texas).
- ↑ Koren, Leonard. Wabi Sabi for artists, designers, poets and philosophers. // Berkeley, CA: Stone Bridge Press. - 1994.
- ↑ What Is Wabi-Sabi? . nobleharbor.com. Date of treatment January 4, 2018.
- ↑ "The nature of garden art". Retrieved 2008-12-06
- ↑ Carter, Robert E .. Japanese arts and self-cultivation // New York, NY: • SUNY Press. ISBN 978-0-7914-7254-5 .. - 2008.
- ↑ 9 principles that make Japanese art unique | Japanese online (rus.) (Neopr.) ? . lang2lang.ru. Date of treatment January 4, 2018.
- ↑ David Young, Michiko Young, Spontaneità nell'Arte Giapponese: il concetto di Shibusa. URL: http://www.cultor.org/Orient/F/S.html
- ↑ "Taste of Japan" . Archived from the original on 2007-04-30. Retrieved 2007-04-01.
- ↑ Zeami and the Transition of the Concept of Yūgen "(PDF). Retrieved 2008-12-08.)
- ↑ Ortolani, Benito. The Japanese Theater // Princeton University Press: Princeton. - 1995.
- ↑ [Yamazaki, Masakazu; J. Thomas Rimer. On the Art of the No Drama: The Major Treatises of Zeami. // Princeton, NJ: Princeton University Press .. - 1984.
- ↑ Diana Lee. Inside Look at Japanese Cute Culture. - 2005.
- ↑ YURI KAGEYAMA. Cuteness a Hot-Selling Commodity in Japan // The Associated Press.
- ↑ Ikegami, Eiko. Bonds of Civility: aesthetic networks and the political origins of Japanese culture .. - New York, NY: Cambridge University Press., 2005.
- ↑ Japan - SOCIETY . data.mongabay.com. Date of treatment January 4, 2018.
- ↑ Eric C. Rath, Stephanie Assmann. Japanese Foodways, Past and Present // University of Illinois Press. - 2010.
- ↑ Yuriko Saito. The Moral Dimension of Japanese Aesthetics // The Journal of Aesthetics and Art Criticism, Vol. 65, No. 1, Special Issue: Global Theories of the Arts and Aesthetics (Winter, 2007), pp. 85-97. Published by: Wiley on behalf of The American Society for Aesthetics.
Literature
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