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Journal articles on the topic 'Aesthetics, Japanese'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Pruša, Igor. "Kawaii: fenomén roztomilosti v japonské kultuře a společnosti." Kulturní studia 2022, no. 2 (2022): 27–47. http://dx.doi.org/10.7160/ks.2022.190202.

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The main objective of this study is to introduce the Czech reader to the hitherto unexplored phenomenon of cuteness (kawaii) in Japanese culture and society. The term kawaii, which is used to describe cute objects (toddlers, animals, mascots, toys), represents one of the most culturally persuasive aesthetics of the new millennium and is a significant economic driver of Japan’s cultural industry (manga, anime, fashion, music). In other words, kawaii is not a temporary fashion trend – it is virtually a ‘standard aesthetic’ that has permeated all areas of Japanese everyday life. In this study, I

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Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth centu

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3

Hoang Thi My, Nhi. "Characteristics of traditional Japanese Aesthetics from the View of Orient Classical Aesthetics." Journal of Science Social Science 66, no. 2 (2021): 29–36. http://dx.doi.org/10.18173/2354-1067.2021-0022.

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Japanese aesthetics was formed very early, and had absorbed classical Oriental thought with its own speciality. Since ancient times, aesthetic concepts had appeared and always played an important role in shaping the Japanese artists’ style of composition and Japanese cultural life, and particularly flourished in Heian period. These aesthetics norms had paved the way for the later development of a unique and rich Japanese aesthetic system. The paper aims to clarify the role of Oriental philosophy, religion and ideology, as well as the ingenious continuation of the Japanese in forming a unique a

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Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth centu

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Ya, Song. "A Study on Creation Principles of Five-storied Pagoda: From the Perspective of Eco-aesthetics." Studies in Linguistics and Literature 5, no. 4 (2021): p53. http://dx.doi.org/10.22158/sll.v5n4p53.

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The novel-Five-storied Pagoda-written by Japanese novelist Koda Rohan manifestly presents ecological consciousness from the perspective of the natural principle, the holistic principle, and the harmonious principle, which are the three principles of ecological aesthetics. By perceiving the harmonious atmosphere among man and nature, individuals themselves, individuals, and society in texts, we can learn that Koda Rohan insisted on traditional Japanese aesthetics and prospectively reflected on the modern aesthetic ideology of Japanese society after Meiji Restoration. This paper explores the aes

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Mi, Lucheng. "The National Concept Behind Japanese Aesthetic "Wabi-sabi"." International Journal of Social Sciences and Public Administration 3, no. 3 (2024): 298–305. http://dx.doi.org/10.62051/ijsspa.v3n3.37.

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This article takes the gold jewelry of Nagoya Castle as an example, and through a case study method, discusses the correlation between the Japanese aesthetic concept of "Wabi-sabi" and the social tradition of "gaman" and the philosophical thought of "no-self" in the Japanese national character. The purpose is to point out that aesthetic preferences are affected by external factors such as national growth environment and moral concepts. Similarly, Japanese philosophical thoughts and national concepts have had a profound impact on the formation and development of wabi-sabi aesthetics. The resear

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Dmitruk, Natalia. "Wierzenia z perspektywy estetyki japońskiej. Mushishi Yuki Urushibary." Literatura i Kultura Popularna 23 (May 31, 2018): 93–107. http://dx.doi.org/10.19195/0867-7441.23.7.

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Religious beliefs from the perspectiveb of Japanese aesthetics: Mushishi by Yuki UrushibaraThe Japanese culture is often portrayed as unique, in particular when compared to broadly-understood Western culture. It is important to notice, however, that the main trait of the Japanese culture is its openness towards outside influences and the ability to modify them to fit better with the Japanese system of values. The same could be applied to the Japanese aesthetics, which concernsm various aspects of life, not only the ones that would be described as art in Western culture. The contemporary Japane

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Tret'yakova, M. "AESTHETICIZATION OF EVERYDAY LIFE, SOVIET DESIGN, JAPANESE DESIGN AND «CRAFT» DESIGN." Technical Aesthetics and Design Research 2, no. 1 (2020): 12–18. http://dx.doi.org/10.34031/2687-0878-2020-2-1-12-18.

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The research is devoted to the issues of aesthetics of replicated things used in everyday life. It compares two aesthetic traditions such as Soviet "craft" design and Japanese "craft" design associated with the Mingei movement. The study revealed that the Soviet aesthetics, although opposed to the "theurgic aesthetics" of the turn of the 20th-19th centuries, it still inherits the idea of "transformation of reality." In contrast, the Mingei movement, which originated in Japan in the 1920s, takes on a Buddhist interpretation in the post-war years and is based on the idea of "aestheticizing every

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9

Mayeda, Arlene M. "Whitehead and Japanese Aesthetics." Harvard Review of Philosophy 1, no. 1 (1991): 29–37. http://dx.doi.org/10.5840/harvardreview1991114.

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10

Saito, Yuriko. "Japanese Aesthetics of Packaging." Journal of Aesthetics and Art Criticism 57, no. 2 (1999): 257. http://dx.doi.org/10.2307/432317.

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11

SAITO, YURIKO. "Japanese Aesthetics of Packaging." Journal of Aesthetics and Art Criticism 57, no. 2 (1999): 257–66. http://dx.doi.org/10.1111/1540_6245.jaac57.2.0257.

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12

Kalmanson, Leah. "Buddhism and bell hooks: Liberatory Aesthetics and the Radical Subjectivity of No‐Self." Hypatia 27, no. 4 (2012): 810–27. http://dx.doi.org/10.1111/j.1527-2001.2011.01224.x.

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This article engages bell hooks's concept of “radical black subjectivity” through the lens of the Buddhist doctrine of no‐self. Relying on the Zen theorist Dōgen and on resources from Japanese aesthetics, I argue that non‐attachment to the self clarifies hooks's claim that radical subjectivity unites our capacity for critical resistance with our capacity to appreciate beauty. I frame this argument in terms of hooks's concern that postmodernist identity critiques dismiss the identity claims of disempowered peoples. On the one hand, identity critique has an emotional component, as it involves qu

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13

Xin-qin, Peng. "Analysis and Apocalypse of Japanese Style Creation Aesthetics." MATEC Web of Conferences 176 (2018): 02022. http://dx.doi.org/10.1051/matecconf/201817602022.

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Japanese style design has a good reputation in the world design community. Its elegant details, metaphorical techniques, quiet and tranquil aesthetic style, and the simplest form of the natural true design concept are praised by the world. The analysis of its aesthetic characteristics can be of great inspiration to the reference and modern construction of Chinese product aesthetics.

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Grubačić, Marko S. "A BRIEF LOOK AT THE PROBLEM OF DEFINING JAPANESE AESTHETIC TERMS, THEIR AUTHENTICITY AND INTERPRETATIONS IN THE TWENTIETH CENTURY (Kratak osvrt na problem definisanja japanskih esteskih pojmova, njihovu autentičnost i interpretacije u XX veku)." Folia linguistica et litteraria X, no. 28 (2019): 113–26. http://dx.doi.org/10.31902/fll.28.2019.7.

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This paper deals with the key concepts of Japanese aesthetics, whose peculiarities arose at the intersection of cultural-historical, poetic and literarytheoretical impulses at a time when clear distinctions between literary, visual and applied arts in Japan were absent. The analysis of the assumptions of their emergence - which frequently alternate between political and aesthetic propositions - is conducted by consulting and interpreting relevant sources in order to question or confirm the established interpretations. Keywords: Japanese Aesthetics, fūryū, iki, mono-no-aware, yūgen, nihonjinron

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15

Arutiunov, Sergei A. "JAPAN: PHILOSOPHY OF BEAUTY. REVIEW OF THE BOOK BY ELENA L. SKVORTSOVA JAPANESE AESTHETICS OF THE TWENTIETH CENTURY. AN ANTHOLOGY." Journal of the Institute of Oriental Studies RAS, no. 2 (16) (2021): 304–12. http://dx.doi.org/10.31696/2618-7302-2021-2-304-312.

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The review covers the publication of the book “Japanese Aesthetics of the 20th century. An Anthology”, compiled, translated and commented by Elena L. Skvortsova. By genre, this work is an anthology, which presents works of famous Japanese thinkers–aestheticians of the 29th century. The author selected and translated into Russian some significant fragments from the vast Japanese philosophers’ heritage devoted to aesthetic problems and representing the main direction of their thought or the expression of their views. The review indicates that Elena Skvortsova fully succeeded in her job. And, alt

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Gudimova, Svetlana. "СОКРОВЕННАЯ КРАСОТА ЯПОНСКОЙ ЭСТЕТИКИ. РЕЦ. НА КН.: СКВОРЦОВА Е.Л. ЯПОНСКАЯ ЭСТЕТИКА XX ВЕКА. АНТОЛОГИЯ". Filosofiya Referativnyi Zhurnal, № 4 (2022): 183–93. http://dx.doi.org/10.31249/rphil/2022.04.22.

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The peer-reviewed anthology includes the works of ten Japanese scientists of the XX century. Their researches has made a significant contribution to the development of philosophical aesthetics of Japan.

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Mi, Lucheng. "Female Gaze in Japanese Society: Based on the Clue of Iki Aesthetics." Journal of Education and Educational Research 9, no. 3 (2024): 5–8. http://dx.doi.org/10.54097/g7y7rm33.

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Based on the current situation of Japanese society and traditional Japanese national concepts, this paper uses Iki aesthetics as a clue to explain the one-sided thinking of contemporary Japanese society on traditional Iki aesthetics. It discusses the relationship between this misunderstanding of Iki aesthetics and the female gaze in Japanese society and explains why the Japanese female gaze focuses on women themselves and often presents a complex appearance of self-loathing. The research in this paper is not only conducive to the academic community to fully grasp the essential characteristics

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18

Amit, Rea. "New Essays in Japanese Aesthetics." Japanese Language and Literature 55, no. 1 (2021): 378–83. http://dx.doi.org/10.5195/jll.2021.189.

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19

Takeda, Masako. "Emily Dickinson and Japanese Aesthetics." Emily Dickinson Journal 22, no. 2 (2013): 26–45. http://dx.doi.org/10.1353/edj.2013.0015.

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Tansman, A., and D. Cozy. "The Aesthetics of Japanese Fascism." British Journal of Aesthetics 52, no. 3 (2012): 322–24. http://dx.doi.org/10.1093/aesthj/ays013.

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21

H, Niroum, F. M. Zain M, and Jamil M. "Aesthetics aspects of Japanese Bridges." Scientific Research and Essays 6, no. 16 (2011): 3351–56. http://dx.doi.org/10.5897/sre11.084.

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22

Gladkova, Anna, and Jesús Romero-Trillo. "The linguistic conceptualization in folk aesthetics." International Journal of Language and Culture 8, no. 1 (2021): 1–13. http://dx.doi.org/10.1075/ijolc.00032.int.

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Abstract This Special Issue is dedicated to the analysis of the linguistic conceptualization of “beautiful” and “ugly” as the key concepts that are basic to aesthetic appreciation across languages and cultures within the framework of folk aesthetics. For this purpose, we present a collection of original research articles analyzing concepts related to folk aesthetics in seven languages: English, Spanish, Japanese, Russian, Danish, Persian, and Mandarin Chinese. All studies in this Special Issue focus on words and concepts as representations of culture-specific ways of aesthetic appreciation. Mo

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23

Belova, Darya Nikolaevna. "Ambivalence of kawaii as a phenomenon of modern aesthetics in Japan." Культура и искусство, no. 6 (June 2024): 164–78. http://dx.doi.org/10.7256/2454-0625.2024.6.70786.

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The author analyzes various aspects of the modern popular culture of kawaii. The connection between sweetness and the terrible in kawaii aesthetics is clarified. It is emphasized that the roots of kawaii go back to the Japanese culture of the past and today's total spread of the cute in Japanese everyday life is reflected in politics, government, business, the military complex, art, influencing all spheres of society and manifesting itself as a key component of the national identity of the Japanese. Attention is focused on the aesthetic category of yami-kawaii. Creepy kawaii understands the wo

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Zhang, Xiaotong. "The character differences in the aesthetics of Zen Buddhism between China and Japan can be seen in the concepts of "qu" and "ji"." Frontiers in Humanities and Social Sciences 4, no. 6 (2024): 62–66. http://dx.doi.org/10.54691/a9jsd132.

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The integrity of Chinese culture itself has led to Buddhism being predominantly associated with religion, while in terms of aesthetics, there were numerous theoretical works during the Wei, Jin, Southern and Northern Dynasties in China, with highly active thoughts. Works such as Lu Ji's "Wen Fu," Zhong Rong's "Shi Pin," Liu Xie's "Wen Xin Diao Long," and Xie He's "Gu Hua Pin Lu" emerged as a large body of aesthetic and artistic works. Therefore, the influence of Buddhism on Chinese aesthetic consciousness is prominently represented by the Zen thought influenced by native Daoist philosophy, whi

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Calovic, Dragan. "Mono no aware concept in Japanese aesthetics." Theoria, Beograd 65, no. 3 (2022): 121–31. http://dx.doi.org/10.2298/theo2203121c.

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Although, until the nineteenth century, we could not find in Japanese thought an approach that would be considered a counterpart to Western aesthetics, in art and cultural practice, nuanced interpretations of aesthetic experiences have been developed, such as wabi sabi, mono no aware and ma. The term mono no aware refers to impermanent, that is, transient beauty, ie. her experience that does not arise on the basis of current sensory experience. This concept should be understood as an aesthetic experience that accepts the beauty of transience, although transience itself cannot be considered bea

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Grishin, Mikhail Vladimirovich. "The cult of beauty in Japanese culture." Voprosy kul'turologii (Issues of Cultural Studies), no. 7 (June 5, 2012): 31–37. http://dx.doi.org/10.33920/nik-01-1207-06.

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This article examines the cult of beauty as a fundamental principle of Japanese culture. Japanese culture processed cultural phenomena borrowed from other cultures in accordance with its perception of the world. It is shown how the principle of "mono-no aware", the "sad charm of things", associated with the artistic and aesthetic way of comprehending the world, comes to the fore in Japanese culture. Experiencing the beauty of the world as a fundamental principle of mastering the world through aesthetics to a certain extent replaces Confucian metaphysics and ethics in Japanese culture.

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Ek, İpek. "Symbiosis of Contrasts as Aesthetic Effect and Its Role in Designing Japanese Spatial Atmosphere." Tasarim + Kuram 20, no. 41 (2024): 1–13. http://dx.doi.org/10.59215/tasarimkuram.dtj427.

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The word aesthetic has been generally found dangerous by architects. The subjective values related to aesthetics play a role in the perception of the discipline as related to ambiguous notions, in today’s architecture. However, the heart of the discipline resides in the universally recognized qualities/values in the periods of both when it was coined by Aleksander Gottlieb Baumgarten in the eighteenth century and when it was handled with the twentieth century’s phenomenological perspective toward the spatial atmosphere. While aesthetics in today’s architectural design trend proceeds on the bas

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Miller, Tyrus. "Bachelor Japanists: Japanese Aesthetics and Western Masculinities – Christopher REED." Artists, Aesthetics, and Artworks from, and in conversation with, Japan - Part 2, no. 9 (December 20, 2020): 91–94. http://dx.doi.org/10.32926/2020.9.r.tyr.bache.

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Bachelor Japanists offers readers an engaging and richly narrated look at Western “Japanism” of the 19th and 20th century—scholarly, collectionist, and creative engagements with Japanese culture, religion, art, and aesthetics—which, Christopher Reed argues, Western individuals and coteries used to construct queer “bachelor” identities, both male and female, eschewing marriage and evading the domestic norms of their day. The term bachelor, Reed underscores, is not [...]

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Ortland, Eherhard. "The Aesthetics of Nature and the Art of Gardening in Japan." Dialogue and Universalism 7, no. 3 (1997): 73–81. http://dx.doi.org/10.5840/du199773/48.

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A Japanese garden is an artistically shaped piece of the environment as well as a representation of nature. In the aesthetic experience of Japanese gardens it is possible to conceive of the relation between nature and art in a way different from anything accessible within the horizon of European aesthetics alone. In a Japanese garden the artificially shaped nature does not suffer a loss of its proper quality of naturalness, but seems to be even more natural according to the criteria underlying the aesthetic appreciation of the beauty of nature itself. These gardens demonstrate human labor as s

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Chu, Hye Young, and Min Hie Yun. "Re-illumination of the Expressive Characteristics and Aesthetic Consciousness of Japan's Representative Modern Graphic Designers." Institute of Art & Design Research 25, no. 2 (2022): 18–28. http://dx.doi.org/10.59386/jadr.2022.25.2.18.

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This study re-examined the expression characteristics and aesthetic consciousness of Yusaku Kamekura, Ikko Tanaka, Shikeo Fukuda, Tadanori Yokoo, and Hara Kenya, representative Japanese graphic designers who have attracted the attention of the world's design industry from the 1960s to the present. In particular, the first-generation designer after World War II, Yusaku Kamekura has received worldwide attention by expressing the sun of the Japanese flag in a simple circle for the 1964 Tokyo Olympics poster, and Ikko Tanaka expressed the traditional theme simply and clearly at Nihonbuyo. Wh

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Marra, Michele. "Japanese Aesthetics: The Construction of Meaning." Philosophy East and West 45, no. 3 (1995): 367. http://dx.doi.org/10.2307/1399394.

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SAITO, YURIKO. "The Moral Dimension of Japanese Aesthetics." Journal of Aesthetics and Art Criticism 65, no. 1 (2007): 85–97. http://dx.doi.org/10.1111/j.1540-594x.2007.00240.x.

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Erb-Medina, Caroline. "JIKIFU: A Japanese aesthetics of taste." Food, Culture & Society 21, no. 3 (2018): 420–21. http://dx.doi.org/10.1080/15528014.2018.1454170.

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Timofeeva, Irina Yu. "JAPANESE LITERARY DECADENCE: PARADOXES OF AESTHETICS." Scholarly Notes of Komsomolsk-na-Amure State Technical University, no. 4 (2023): 18–25. http://dx.doi.org/10.17084/20764359-2023-68-18.

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35

Zhang, Siqi, and Chunshu Chen. "Sori Yanagi’s Industrial Design Aesthetics." Journal of Asian Research 5, no. 4 (2021): p1. http://dx.doi.org/10.22158/jar.v5n4p1.

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With the development of social economy, industrial design has become more and more influential. The development of the industrial design industry is one of the signs showing a modern civilization, innovation ability and comprehensive national strength. In the future economic development, design will become the mainstream force driving innovation. It can be seen that showing the added value in industrial design is a popular trend in the power balance between countries in the future. This article will discuss the aesthetic thought of Sori Yanagi, the father of Japanese industrial design, and dis

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36

Yi, Yuxi. "The Fusion of Japanese Zen Aesthetics and the Image of Machi-Man (Townspeople) – Reflections in Ukiyo-e and 19th Century Paris Montmartre Art." International Journal of Culture and History 10, no. 2 (2023): 54. http://dx.doi.org/10.5296/ijch.v10i2.21383.

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The three core elements of Japanese Zen art aesthetics are mono no aware, yugen, and wabi-sabi, but these are only modern research interpretations of Zen art aesthetics. By tracing the roots of Rinzai Zen Buddhism from China, free from the written word, this paper finds that Zen Buddhism has influenced Japanese culture in both thought and life and has fused the cultural practices of the Japanese townspeople's society over time. Therefore, the article analyzes the connection between the Japanese Zen aesthetics and the culture of the Machi-man (townspeople). At the same time, the paper also argu

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Feng, Peng. "Aesthetic Appreciation of Chinese Gardens: Between Art and Nature." Global Journal of Cultural Studies 1 (December 20, 2022): 21–30. http://dx.doi.org/10.6000/2817-2310.2022.01.03.

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Gardens include not only art but also nature. According to different relationships between art and nature, this article clarifies five types of gardens: the French-style gardens, the English-style gardens, topiary gardens, Japanese gardens, and Chinese gardens. Based on this clarification, this article argues that Chinese gardens follow the lead of the essential qualities of art instead of the essential qualities of nature. With “borrowing” and “following”, the natural elements in Chinese gardens extend to the field of art. The boundaries between art and nature are erased. The aesthetic apprec

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Priventa, Hendrike. "Aspek Estetis dalam Cerita Pendek “Inu to Hito to Hana” Karya Ogawa Mimei." Chi'e: Journal of Japanese Learning and Teaching 8, no. 1 (2020): 18–25. http://dx.doi.org/10.15294/chie.v8i1.35041.

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The short story "Inu to Hito to Hana" by Ogawa Mimei is a simple story that is full of elements of ethics and aesthetics. The purpose of this study is to describe the aesthetic aspects of the short story "Inu to Hito to Hana". The method used is literature study using an aesthetic identity approach. The results of this study can be seen from aesthetic aspects, namely 1) language style, 2) symbols, 3) imagination process, and 4) philosophical values. Keywords : Aesthetic aspects, aesthetic identity, ethics, Japanese short story

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Pradittatsanee, Darin. "On a Path towards Forgiveness: Garden-Practices and Aesthetics of Engagement in Tan Twan Eng’s." MANUSYA: Journal of Humanities 25, no. 1 (2022): 1–22. http://dx.doi.org/10.1163/26659077-25010001.

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Abstract This paper examines the human-nature relationship in the art of Japanese gardening in Tan Twan Eng’s The Garden of Evening Mists (2012). Drawing upon the aesthetics of Japanese gardening and theories of garden art, it argues that the novel advocates the complementarity of nature and human artifice in gardening. Japanese gardening which is related to the Taoist concept of yinyang and the Buddhist notion of impermanence, together with its principle of shakkei (borrowed landscape), suggests a combination of anthropocentric and ecocentric relationships with nature. Moreover, since Japanes

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Li, Yanze, and Quanhong Jiang. "The development and influence of Japanese aesthetics and its manifestation in Japanese animation." SHS Web of Conferences 153 (2023): 01007. http://dx.doi.org/10.1051/shsconf/202315301007.

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This paper sorts out the evolution and development of Japanese aesthetics chronologically, summarizes the features of Japanese animation, interprets the charm of Japanese animation by linking the characteristics of Japanese culture that correspond to Japanese animation, and eventually discusses the controversial social impact of Japanese culture on China brought by Japanese animation.

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Saito, Yuriko. "The Japanese Aesthetics of Imperfection and Insufficiency." Journal of Aesthetics and Art Criticism 55, no. 4 (1997): 377. http://dx.doi.org/10.2307/430925.

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Ekuan, Kenji, and David B. Stewart. "The Aesthetics of the Japanese Lunch-Box." Journal of Aesthetics and Art Criticism 57, no. 4 (1999): 485. http://dx.doi.org/10.2307/432166.

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Kirwan, J. "Modern Japanese Aesthetics: A Reader Michele Marra." British Journal of Aesthetics 41, no. 3 (2001): 347–49. http://dx.doi.org/10.1093/bjaesthetics/41.3.347.

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Corbett, Rebecca. "Jiki-fu: A Japanese Aesthetics of Taste." Japanese Studies 38, no. 2 (2018): 282–84. http://dx.doi.org/10.1080/10371397.2018.1491791.

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Baudinette, Thomas. "Bachelor Japanists: Japanese Aesthetics and Western Masculinities." Japanese Studies 39, no. 1 (2019): 133–34. http://dx.doi.org/10.1080/10371397.2018.1557500.

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KENJI TIERNEY, R. ":Beauty Up: Exploring Contemporary Japanese Body Aesthetics." American Anthropologist 109, no. 4 (2007): 773–74. http://dx.doi.org/10.1525/aa.2007.109.4.773.

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SHIMIZU, S. "Beauty Up: Exploring Contemporary Japanese Body Aesthetics." Social Science Japan Journal 10, no. 2 (2007): 314–17. http://dx.doi.org/10.1093/ssjj/jym036.

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48

SAITO, YURIKO. "The Japanese Aesthetics of Imperfection and Insufficiency." Journal of Aesthetics and Art Criticism 55, no. 4 (1997): 377–86. http://dx.doi.org/10.1111/1540_6245.jaac55.4.0377.

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Amit, Rea. "On the Structure of Contemporary Japanese Aesthetics." Philosophy East and West 62, no. 2 (2012): 174–85. http://dx.doi.org/10.1353/pew.2012.0016.

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He, Zhen. "The Contrast between Japanese and Chinese Gardens – Taking Humble Administrator’s Garden in Suzhou and Katsura Imperial Villa in Kyoto as Examples." SHS Web of Conferences 180 (2023): 01019. http://dx.doi.org/10.1051/shsconf/202318001019.

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Abstract:

Garden culture has evolved through thousands of years to create its own distinctive features in both China and Japan. Chinese culture also had a major influence on Japanese culture, which is seen in garden culture. Both the Humble Administrator’s Garden and the Katsura Imperial Villa were built during the same eras, the Ming Dynasty and the Edo era, and they are considered to be the greatest examples of Japanese and Chinese garden architecture. The garden design, water features, and rock elements of the Humble Administrator’s Garden and the Katsura Imperial Villa are thoroughly compared in thi

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