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Journal articles on the topic 'Japanese aesthetics'

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 (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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2

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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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 (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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4

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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5

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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6

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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7

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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8

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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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 (March 1, 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 questioning the self and possibly letting go of aspects of that self in which a person has inevitably made emotional investments. On the other hand, it has an aesthetic component, as it opens a space for the creative crafting and recrafting of identity. Japanese aesthetics emphasizes that all aesthetic appreciation is accompanied by feelings of mournfulness, for the object of aesthetic appreciation is transient. Linking hooks's liberatory aesthetics with the resources of the Japanese tradition suggests that mournfulness in the face of self‐loss necessarily accompanies all instances of critical resistance. Thus non‐attachment becomes a useful framework in which to understand both the emotional and aesthetic components of empowered identity critique.

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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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14

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 (December 26, 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, Mingei theory

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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, although anthologies alone are not enough to study any subject, while other textbooks and special research are also needed, the combination of comments, along with the general structure of the academic research by Elena Skvortsova, makes the book more than a simple anthology. Although the book under review is devoted specifically to Japanese aesthetics, the texts contained in it give us a broad idea not only of the aesthetic vector of Japanese philosophy but also says a lot about the general originality and even uniqueness of Japanese philosophical thought. The book’s significance is enhanced by its extensive list of bibliography in Russian, Japanese and Western languages, a voluminous dictionary of Japanese terms and equally voluminous index of names. In domestic Japanese studies, there has not yet been a work of such a level and scale, and it is unlikely to be surpassed in the nearest future, the review emphasizes.

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16

Gudimova, Svetlana. "СОКРОВЕННАЯ КРАСОТА ЯПОНСКОЙ ЭСТЕТИКИ. РЕЦ. НА КН.: СКВОРЦОВА Е.Л. ЯПОНСКАЯ ЭСТЕТИКА XX ВЕКА. АНТОЛОГИЯ." Filosofiya Referativnyi Zhurnal, no. 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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17

Mi, Lucheng. "Female Gaze in Japanese Society: Based on the Clue of Iki Aesthetics." Journal of Education and Educational Research 9, no. 3 (July 30, 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 of Iki aesthetics; it also helps the academic community to deeply understand the reasons behind the current situation of Japanese female gaze and has certain academic significance and practical value in promoting theoretical research and practical application of Japanese female gaze.

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18

Amit, Rea. "New Essays in Japanese Aesthetics." Japanese Language and Literature 55, no. 1 (April 21, 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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20

Tansman, A., and D. Cozy. "The Aesthetics of Japanese Fascism." British Journal of Aesthetics 52, no. 3 (June 27, 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 (August 19, 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 (June 7, 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. Most of the studies are corpus-based, therefore they draw their conclusions on significant linguistic data.

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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 works of Japanese artists and the youth subculture. The connection of kawaii and yami-kawaii is shown. The subject of the study is the images of Japanese artists of the XX – XXI centuries. A characteristic feature of the art of which is the excessive depiction of the cute, indicating a connection with modernity. Comparative historical and iconographic research methods based on cultural, philosophical, and art historical scientific materials were used. The relevance of the topic is due to the need to explore new trends in art, with the need to rethink classical, aesthetic categories, in connection with the catastrophes of the XX – XXI centuries, which changed European culture and left an indelible mark on Japanese culture. The novelty of the research lies in an attempt to analyze the phenomenon of kawaii in a dual aspect: kawaii of the sweet and kawaii of the terrible in the art of Japanese artists, based on the phenomenon of fear as the driving force of yami-kawaii, as well as using the aesthetic category of "kawaii" as an all-pervading characteristic of mass culture. The yami-kawaii style is an independent aesthetic category, widespread by the youth subculture. The popularity of the "sick" kawaii as a crude grim reality is applied in the marketing of the industrial industry. Infantilism manifests itself as a defense, a psychological barrier in search of support and sympathy. The aesthetics of kawaii mildness acts as one side of the coin, the other is the internal conflict of society – fear, helplessness, depression. The yami-kawaii subculture is an expression of the aesthetic phenomenon of suffering and fear.

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24

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 (June 25, 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, which also reflects a positive aspect in facing real life. It presents an aesthetic taste of "joy" and "carefree." The core of Chinese aesthetics is not limited to the ethical aspect of Confucian aesthetics, but rather stems from the Daoist concept of "harmony between heaven and man" and the perception of nature. Before the introduction of Buddhism, Japan did not form a complete and systematic aesthetic concept. Moreover, the natural environment of the disaster-prone Japanese archipelago was not superior. With the entry of Buddhism into Japan and its dominance in Japanese culture, a pessimistic attitude towards the world quickly permeated the aesthetic consciousness of Japan, which lacked a conscious ideological system. This difference in aesthetic expression is manifested in the characters of "qu" and "ji" .

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25

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 beautiful. Mono no aware, is not the emotional response to the rational judgment of transience, but the feeling that permeates us when we become aware of sensory experience with the knowledge of transience. This, however, is not about any sensory experience, but only one in which we find beauty. Hence, the concept of mono no aware remains inseparable from the experience of the beautiful, but it is not equated with it.

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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 (March 25, 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 basis of sensory experience and sensation, it also includes the concept of emotion that emerges behind this experience and sensation. Thus, while the atmosphere of space becomes the aesthetic object of architecture, it can be said that the phenomenon it corresponds to is a structure consisting of multi-layered architectural components and an organism that can be called more than this structure, including the experiencers and their pasts, and therefore constantly changing. At this point, it seems inevitable for the spatialized space to continue spatializing and thus become a narrative. When the traces of the nature of the spatializing and narrated space, aiming at the continuity of the experience-oriented movement, are followed on the basis of cultures in history, we encounter Japanese space aesthetics as a profound effect. The phenomena of Japanese culture, especially based on religion and geography, have taken place both in space and in words, and have become the genetic codes that ensure the transfer of culture between generations. Therefore, when a space and a poem are compared in Japanese culture, it can be seen that the creation intentions that shape these two tools, the phenomena conveyed and the messages presented are parallel to each other. The words that play a role in the design of the space and create it, and the spatial experience that is conveyed by the poetic can be read with different aesthetic codes in the genes of Japanese culture. One of these codes is the hanasuki aesthetic effect, which points to the symbiotic existence of opposite concepts and was brought to the literature by Kurokawa Kisho. When the concepts/language that creates the space and the space created in language/words are considered on the basis of hanasuki aesthetic effect, it gains legibility in both contexts. In this framework, the current study plans to question and read the aesthetic effect that encodes/creates space, first through the explanations of Japanese architects focusing on aesthetics in spatial design, and then through the spatial descriptions that we encounter in the works of Japanese poets. The content of the study focuses on the concept of contrast, which has aesthetic and philosophical foundations in Japanese culture and language and is based on a dynamic and symbiotic relationship, through texts describing the spaces belonging to this culture. The spatial structure connected by special bridges by the aesthetic effect arising from the symbiotic coexistence of opposite concepts in Japanese architecture corresponding to the word in the space and Japanese architecture in the word will be examined, and the correspondence of this effect, which takes place between the experiencer and the experienced (subject and object), in the Western theme, will also be referred. Therefore, the texts are divided into two groups on the basis of a view (as words in the space) that can be seen as the reflection of cultural codes in the language, and readings of the representational existence of which the space is reconstructed through the references in the language (as space in the word). While the first group is trying to understand the aesthetic codes that appear in the language of the physical creation of the space through the explanations made by Japanese architects on the basis of aesthetics, the second group focuses on understanding the components and structuring of the same aesthetic codes by looking at the representation of the space in literary texts. The aim is to show that the basis of space creation and representation practices that shape Japanese architecture, in theory, corresponds to one of the aesthetic effects that have deep roots in this culture, hanasuki, which is born from the dynamic and symbiotic unity of contrasts. Understanding the past can guide the future: approaching the deficiencies and reservations about aesthetic tendencies in contemporary Western and Eastern architecture, including all architectural traditions and cultures, by looking at the relationship between Japanese aesthetic philosophy and architecture, which has a deep history in this field, can serve as a guide for us on the way to solution and progress.

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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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29

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 something which does not necessarily collide with natural beauty. Here, a work of art can be experienced as bemg potentially reconciled with the very idea of nature in its most beautiful state of self-realization.

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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 (December 31, 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. While the posters of Kamekura and Tanaka expressed traditional materials in a simple and clear way from a modern perspective, Shigeo Fukuda's posters showed a modern expression trend that maximized the effect of optical illusions. Tadanori Yokoo used traditional Japanese materials in poster design and simultaneously expressed pop art and psychedelic expressions that deviated from Western modernism. Finally, Hara Kenya is actively realizing the design of blank space with the aesthetics of emptiness. The source of such modern graphic design in Japan can be ideologically pointed out as the Buddhist ideology of emptiness and Zen, Wabi & Sabi, Shutaku, Reductionism, and in terms of style, Ukiyoe, Linpa, Western modernism. Modern Japanese graphic design, which forms the mainstream with simple forms, abstract shapes, and simple colors, sought to harmonize and balance its unique cultural identity and global universality, and designers reflected their own formative language in their work. It can be said that it is a tendency of Japanese designers to express the harmony of Japanese traditional culture and Western modernism amid the trend of modernism. This aspect can be seen as a reflection of the perception of the design world to visualize Japan's modern image as an economic and a cultural power at the same time. In particular, the poster of 5 people reflected cultural traditions and aesthetic consciousness, while re-examining the glocal Hwahonyangjae of Japanese modern graphic design that aims for universal design at the same time. In particular, in the area of graphic design, where alphabetic culture design is the mainstream, Japanese design uses Chinese characters, hirakana, and katakana, forming a unique Japanese style graphic design foundation that is highly recognized worldwide. It is expected to contribute to the spread of K-Design's external awareness along with an opportunity to examine the universality and differences inherent in Korean, Chinese, and Japanese philosophies and aesthetics through a study on the expression characteristics and aesthetic consciousness of Japanese modern graphic design.

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Marra, Michele. "Japanese Aesthetics: The Construction of Meaning." Philosophy East and West 45, no. 3 (July 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 (January 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 (April 23, 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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Zhang, Siqi, and Chunshu Chen. "Sori Yanagi’s Industrial Design Aesthetics." Journal of Asian Research 5, no. 4 (November 23, 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 discuss the influence of his aesthetic thought on Japanese industrial design.

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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 (October 13, 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 argues that the relationship between Zen art aesthetics and the townspeople spread worldwide with the spread of ukiyo-e as an art form. This relationship is visualized in the form of case studies, including but not limited to the use of ukiyo-e artworks to substantiate this relationship and the analysis of the works of Toulouse-Lautrec to decipher how this relationship between aesthetics and townspeople has been learned in foreign lands.

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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 appreciation of Chinese gardens challenges the “positive aesthetics”, which is prevalent in contemporary environmental aesthetics, and endorses a “negative aesthetics”, which we can find its supports in traditional Chinese philosophy.

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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 (March 28, 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 (June 9, 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 Japanese aesthetics is interwoven with ways of living, the paper examines how the female protagonist’s apprenticeship to a Japanese gardener in the Cameron Highlands of Malaya gradually alters her mind and opens up ways of coping with her traumatic experience, during the Occupation, in a Japanese internment camp. It argues that gardening art, what art philosopher Arnold Berleant calls the “aesthetics of engagement,” and changing gardenscape induce the protagonist to comprehend impermanence, moral ambiguity and the complementary co-existence of memory and forgetting, all of which enable her to forgive the Japanese transgressors and to make peace with the past.

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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 (July 1, 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 (May 4, 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 (January 2, 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 (December 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 (September 7, 2007): 314–17. http://dx.doi.org/10.1093/ssjj/jym036.

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SAITO, YURIKO. "The Japanese Aesthetics of Imperfection and Insufficiency." Journal of Aesthetics and Art Criticism 55, no. 4 (September 1, 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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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 this study to highlight their commonalities and differences. It explores the factors behind these distinctions, encompassing the design and aesthetic concepts of the two countries, while considering the influence of cultural, economic, and natural factors. Additionally, the research uncovers key findings, shedding light on the distinctions between these two gardens and the influential factors, including cultural, economic, and natural influences, shaping their unique characteristics. The study delves into historical, geographical, and cultural influences, unveiling the distinct preferences and philosophies of Chinese and Japanese garden aesthetics. Ultimately, this research extends readers’ comprehension of Chinese and Japanese garden art and culture, fostering positive cross-cultural understanding and communication between the two nations. Through comparison and analysis, readers gain a deeper understanding of the underlying ideologies and aesthetics of these two cultures, promoting greater exchange and mutual enrichment in the realm of Sino-Japanese garden art.

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