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Relevant bibliographies by topics / Japanese aesthetics

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Academic literature on the topic 'Japanese aesthetics'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Japanese aesthetics"

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Pruša, Igor. "Kawaii: fenomén roztomilosti v japonské kultuře a společnosti." Kulturní studia 2022, no. 2 (November 1, 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 focus on three thematic units, namely psychology, aesthetics, and history of cuteness. Within psychology, I analyze kawaii as an intense emotional response to some significant stimulus that triggers a ‘maternal’ desire. Within aesthetics, I firstly focus on the stylized Japanese script, which started the kawaii fever in 1970s. Secondly, I point out the main specifics of Japanese product design with kawaii features and explain how kawaii aesthetics permeated the field of Japanese fashion. Thirdly, I focus on various mascots and animal characters that represent the main platform of kawaii aesthetics today, and demonstrate how Japanese authorities and institutions utilize this aesthetic to maintain the status quo. Finally, I offer a brief history of Japanese cuteness, which began in court literature of the 10th century and culminated in the second half of the 20th century.

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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 century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).

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Hoang Thi My, Nhi. "Characteristics of traditional Japanese Aesthetics from the View of Orient Classical Aesthetics." Journal of Science Social Science 66, no. 2 (May 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 aesthetics of the nation. Besides, the article analyzes the characteristics of beauty such as deficiencies and emotional suppression, intimacy and lofty, sacred and worldly, and fragile fate. Based on those analyses, the paper explains the relationships between Japanese aesthetics and other typical aesthetics such as China and India. The research results will be the theoretical basis contributing to deciphering the characteristics of Japanese culture viewing from a traditional perspective.

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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 century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).

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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 (October 18, 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 aesthetic features of—Five-storied Pagoda—by analyzing text expression from a new angle, and probes into the relationship with the three principles of eco-aesthetics. It is aimed to determine the consensus between eastern aesthetics and ecological aesthetics, and it can be inferred that the consensus will, to a great extent, make a special contribution to enriching the construction of ecological aesthetics.

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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 (July 21, 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 research in this article not only helps the academic community to fully grasp the essential characteristics of wabi-sabi aesthetics; it also helps the academic community to deeply understand the similarities and differences between wabi-sabi aesthetics and other aesthetic concepts; it has certain academic significance for promoting the theoretical research and practical application of wabi-sabi aesthetics and realistic value.

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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 Japanese culture and the aesthetics along with it is occasionally a combination of tradition and modern ideas; the works of popular culture, which includes comics and animation, may hold the most interesting cases in that regard. This article describes the issues of the Japanese aesthetics in Mushishi, a comic book by Yuki Urushibara. The author, while inspired by the classical works of Japanese literature and legendary tales, presents her own stories, in which the primary aesthetic value is the harmony between human and nature, sometimes represented by the supernatural beings known as mushi.

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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 (September 26, 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 everyday life" (in its Japanese understanding), on the "shibui" aesthetics. Based on the ideas of Buddhism, it is proposed to consider melancholy as an aesthetic category. As a result of the search for the spiritual foundations of domestic design, the conclusion was formulated that the faces of the ornament play an important role in this regard.

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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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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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Dissertations / Theses on the topic "Japanese aesthetics"

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Sharp, Jasper. "Japanese widescreen cinema : commerce, technology and aesthetics." Thesis, University of Sheffield, 2013. http://etheses.whiterose.ac.uk/5606/.

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Flowers, Johnathan Charles. "Aware as a Theory of Japanese Aesthetics." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/734.

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Aware, as generally conceived in Japanese aesthetics, refers to the felt content within a particular work of art that drives the aesthetic value of that work. In this thesis presents a theory of art that places aware as central to the aesthetic experience in the Japanese as derived from Shinto and Buddhist ontology, as well as the aesthetic theories of Motoori Norinaga. This theory is then contrasted with the aesthetic theory of Susanne K. Langer as presented in Philosophy in a New Key, Feeling and Form, and Problems of Art, to provide a full explication of what it means to have an aesthetic experience or create art in the Japanese context.

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Maetani, Masumi. "Transformation in the aesthetics of tea culture in Japan." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39634280.

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Toyoda, Mitsuyo. "Approaches to Nature Aesthetics: East Meets West." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3305/.

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Nature aesthetics is examined as an approach to environmental ethics. The characteristics of proper nature appreciation show that every landscape can be appreciated impartially in light of the dynamic processes of nature. However, it is often claimed that natural beauty decreases if humans interfere into nature. This claim leads to the separation of human culture and nature, and limits the number of landscapes which can be protected in terms of aesthetic value. As a solution to this separation, a non-dualistic Japanese aesthetics is examined as a basis for the achievement of the coexistence of culture and nature. Ecological interrelationships between human culture and nature are possible by means of an aesthetic consciousness in terms of non-hierarchical attitudes.

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Maetani, Masumi, and 前谷真寿美. "Transformation in the aesthetics of tea culture in Japan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39634280.

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Peek, Cameron Morrill. "KAWAII AESTHETICS: THE ROLE OF CUTENESS IN JAPANESE SOCIETY." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/192562.

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Steinberg, Marc A. "Emerging from flatness : Murakami Takashi and superflat aesthetics." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33929.

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This thesis is an examination of the concept and the term "superflat" as it is elaborated by the Japanese artist Murakami Takashi in his writings, in the exhibition he curated under the same name, and in his own art.
Its aim is to contextualize Murakami's project on one hand in terms of a similar attempt to define a Japanese national aesthetic in the early 20 th century, and on the other in terms of the 1990's tendency to return to Edo Japan to find the "origins" of Japan's postmodernity.
Murakami's own art is then turned to in order to both elaborate on and test the aesthetic of Japanese art he calls the superflat. This examination of Murakami's art permits the formulation of an aesthetics of Japanese contemporary art and animation even as it will afford an understanding of the "cultural logic" of the digital age that informs Murakami's argument.
Questions important to this project are: Is the articulation of a local aesthetics possible in this globalizing age? What are the aesthetic traits of the digital age? How should the superflat---as both idea and project---be interpreted?

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Nguyen, Hung Ky. "Aesthetics of ambiguity and mystery in late 20th century Japanese posters." Thesis, Curtin University, 2014. http://hdl.handle.net/20.500.11937/2033.

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My thesis argues that ambiguity and mystery are the essence of late 20th century Japanese posters. Through the use of qualitative and 'thick description' approach my thesis explores late 20th century Japanese poster production from the five Japanese poster designers' points of view; appreciation of ambiguity and mystery in Japanese culture and in these designers' works; and the extent to which Japanese cultural references and East Asian Buddhist philosophy and aesthetics have influenced these designers.

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Melay, Alexandre. "Temporalité et spatialité dans l'esthétique japonaise : Formes de l'architecture au Japon." Thesis, Saint-Etienne, 2015. http://www.theses.fr/2015STET2209.

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Cette thèse porte sur la question de l’identité de l’architecture contemporaine au Japon à travers l’esthétique traditionnelle, profondément ancrée dans l’ensemble de la culture ancienne de ce pays : un véritable cheminement passant à la fois par l’intellectuel, le spirituel et l’artistique. L’objet de cette recherche est donc d’analyser l’interrelation existante entre tradition et modernité ; d’établir une « filiation », une possible évolution et de comprendre aussi la transformation de l’architecture contemporaine et ses problématiques à travers les différents concepts, qui fondent l’ensemble de l’esthétique au Japon, entre temporalité et spatialité. Il est question d’apporter un éclairage sur les expressions de la tradition : une « nouvelle tradition », une japonéité, où la tradition devient la matrice de la modernité. La tradition est à comprendre alors comme un véritable catalyseur. L’objectif de cette thèse est de montrer que l’architecture japonaise a su résoudre la difficile adéquation de relier la tradition nationale et la modernité internationale. La tradition semble être aussi l’une des matrices du futur. En d’autres termes, il s’agit de comprendre les traditions culturelles japonaises comme de véritables leviers conceptuels pour la nouvelle génération d’architectes japonais. La tradition est un héritage du passé qu’il faut préserver pour garder une identité, et qui permet de donner un chemin et une perspective pour l’avenir. De la qualité du rapport avec la tradition dépend non seulement l’harmonie et la beauté du cadre de vie, mais aussi la richesse du message architectural à transmettre aux générations futures
This thesis focuses on the question of the identity of contemporary Japanese architecture through Japanese traditions and aesthetics, deeply rooted from the cultural background of Japan : a real passage through both intellectual, spiritual and artistic fields. The purpose of this research is to analyze the interrelation existing between tradition and modernity ; to establish a filiation, or a lineage, a possible evolution, to understand the transformation of Japanese architecture through different concepts between space and time. It comes to shed light on the expression of tradition in Japanese architecture : a “new tradition”, a notion of japan-ness where tradition becomes the matrix of modernity. In other words, tradition could be understand as a true catalyst. The goal of this thesis is to show that Japanese architecture has resolved the difficult balance between National tradition and International modernity. The tradition seems to be also one of the matrix of the future. The tradition is not only architectural, but it includes spirituality, aesthetics, art, and the manner how culture is linking to space and time. In other words, it is important to understand the cultural Japanese tradition background as a true conceptual levers for the new generation of Japanese architects. The tradition is a legacy of the past which should be preserved to maintain an identity, which could give a path, and vision for future. The quality of the relationship with the tradition depends not only of the harmony and beauty of our living, but also from the wealthy architectural message transmitted to future generations

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Helmick, Amy Christine. "Wabi Sabi : an exploration of Wabi-Sabi & Japanese aethetics /." Diss., ON-CAMPUS Access For University of Minnesota, Twin Cities Click on "Connect to Digital Dissertations", 2001. http://www.lib.umn.edu/articles/proquest.phtml.

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Books on the topic "Japanese aesthetics"

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Richie, Donald. A tractate on Japanese aesthetics. Berkeley, Calif: Stone Bridge Press, 2007.

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Ekuan, Kenji. The aesthetics of the Japanese lunchbox. Cambridge,Mass: MIT Press, 2000.

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Ekuan, Kenji. The aesthetics of the Japanese lunchbox. Cambridge, Mass: MIT Press, 1998.

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1942-, Hume Nancy G., ed. Japanese aesthetics and culture: A reader. Albany, N.Y: State University of New York Press, 1995.

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Odin, Steve. Tragic beauty in Whitehead and Japanese aesthetics. Lanham: Lexington Books, 2016.

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Ståhlberg-Aalto, Freja. Aesthetics in care environments: The Japanese experience. Helsinki: Aalto University, School of Arts, Design and Architecture, 2013.

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Miller, Laura. Beauty up: Exploring contemporary Japanese body aesthetics. Berkeley, CA: University of California Press, 2007.

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Kobayashi, Nobuyuki. Heidegger und die Kunst: Im Zusammenhang mit dem Ästhetikverständnis in der japanischen Kultur. Köln: Edition Chōra, 2003.

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Tanizaki, Junʾichirō. In praise of shadows. London: Cape, 1991.

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Schaarschmidt-Richter, Irmtraud. Japanische Impressionen. Schaffhausen: Edition Stemmle, 1988.

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Book chapters on the topic "Japanese aesthetics"

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Ryōsuke, ŌHASHI. "Japanese Worlds." In Handbook of Phenomenological Aesthetics, 171–76. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2471-8_34.

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Chiba, Kaeko. "Philosophy and aesthetics." In The Japanese Tea Ceremony – An Introduction, 16–32. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003248668-2.

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Anan, Nobuko. "Introduction: Girls’ Aesthetics." In Contemporary Japanese Women’s Theatre and Visual Arts, 1–17. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_1.

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Marinucci, Lorenzo. "Japanese Atmospheres: Of Sky, Wind and Breathing." In Atmosphere and Aesthetics, 93–118. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24942-7_5.

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Chiba, Kaeko. "Philosophy and aesthetics in ikebana." In Japanese Flower Culture – An Introduction, 37–52. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003248682-3.

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Colombo, Giorgio Fabio. "A Spectral Tribunal: Ghosts as Agents of Justice in Japanese Imagination." In Aesthetics of Law, 255–76. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-55521-3_16.

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Hebert, David G. "Metaphors of a Japanese Band Community." In Landscapes: the Arts, Aesthetics, and Education, 217–26. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2178-4_14.

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Hebert, David G. "Instruction in the Japanese School Band." In Landscapes: the Arts, Aesthetics, and Education, 109–23. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2178-4_5.

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Hebert, David G. "Japanese Composers and Wind Band Repertoire." In Landscapes: the Arts, Aesthetics, and Education, 155–70. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2178-4_9.

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Takata, Azusa. "“In Praise of Shadows”: Christian Kracht’s The Dead as a ‘Japanese Aesthetic’." In Christian Kracht‘s Aesthetics, 161–68. Stuttgart: J.B. Metzler, 2023. http://dx.doi.org/10.1007/978-3-476-05958-1_15.

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Conference papers on the topic "Japanese aesthetics"

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Chen, Huixian. "Death Aesthetics in Japanese Love Movies." In 8th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220306.064.

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Avdulov, Alexandre. "Understanding Wabi and Sabi in the Context of Japanese Aesthetics." In The Asian Conference on Cultural Studies 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2187-4751.2022.3.

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Adriati, Ira, and Almira Zainsjah. "Analysis of the Japanese Culture Influence in the Visualization of Djawa Hokokai Batik." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338616.

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Avdulov, Alexandre. "Moon Through the Gate: Reflecting on Time/Space in Japanese Aesthetics." In The Asian Conference on Cultural Studies 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2187-4751.2023.1.

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Sayahdikumullah, Dikdik. "Japanese Painter on Mooi Indie Period: Case Study of Kojyo Kokan in Indonesia Early 20th Century." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338631.

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Wenying, Dong, and Geng Yien. "Life Aesthetics in Japanese Civil Lacquerware and Its Enlightenment to Chinese Traditional Handicrafts." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.059.

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Fang, Zhijuan. "A Study on Japanese Film and TV Drama Remakes from the Perspective of Reception Aesthetics Centered on the Chinese Version of Midnight Food Store." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.133.

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Dong, Lili. "Research on Traditional Aesthetic Philosophy in the Japanese Literature." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.283.

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Yuan, Zhuyun. "Crossing the East Asian cultural bridge: Comparison between Chinese and Japanese aesthetic education." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004790.

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This article aims to conduct a comparative study of aesthetic education in China and Japan, to explore the similarities and differences in history, theory, and practice of aesthetic education in the two countries, and to promote cross-border learning exchanges and cooperation. This article adopts the method of literature research and deductive induction, first introduces the history and current situation of aesthetic education in China and Japan, and then compares the theoretical system and practice of aesthetic education in the two countries. It is hoped that the aesthetic education of the two countries will be integrated and developed, jointly cultivate Asian talents.

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Şirikçi, Tuğçe. "The Effect of Wood on Japanese Architecture: The Sample of The Horyu-Ji Temple." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 6-8 May 2020. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021tr0057n20.

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Traditional Japanese architecture consists of natural wood, hay, earthenware, and similar types of materials. Japanese architecture has a linear structure. The main purpose of Japanese architecture is to be unified. Many of the materials used here have a higher moisture protection function than those made of plywood or spinning. The structure has a breathing mechanism that naturally preserves good air and moisture. The fact that Japan is rich in vegetation has a great effect on the formation of natural materials. There is a bond in Japanese architecture that respects the harmony between human and nature. Human beings are a part of nature. This article refers to the oldest wooden building in the world. The first world cultural heritage in Japanese architecture, and the temple of Horyu-ji, which has been standing for over 1300 years. The aim is to investigate the aesthetic, ethical awareness and ethnology of traditional wood used on Japanese architecture. While the structure and varieties of wood refer to the findings on the buildings, it is an attempt to approach the "lifestyle and values" of the wood form and structure.

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Reports on the topic "Japanese aesthetics"

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Yonemura, Ann. Art in Context: Aesthetics, Environment and Function in the Arts of Japan. Inter-American Development Bank, March 1995. http://dx.doi.org/10.18235/0007915.

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