Bibliografías temáticas / Japanese aesthetic

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Literatura académica sobre el tema "Japanese aesthetic"

Autor: Grafiati
Publicado: 3 de julio de 2021
Última modificación: 27 de abril de 2022

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Artículos de revistas sobre el tema "Japanese aesthetic"

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Peremislov, I. A. y L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES". Arts education and science 1, n.º 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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Peremyslov, I. A. y L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER". Arts education and science 1, n.º 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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Hoang Thi My, Nhi. "Characteristics of traditional Japanese Aesthetics from the View of Orient Classical Aesthetics". Journal of Science Social Science 66, n.º 2 (mayo de 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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Ya, Song. "A Study on Creation Principles of Five-storied Pagoda: From the Perspective of Eco-aesthetics". Studies in Linguistics and Literature 5, n.º 4 (18 de octubre de 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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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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Kalmanson, Leah. "Buddhism and bell hooks: Liberatory Aesthetics and the Radical Subjectivity of No‐Self". Hypatia 27, n.º 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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Priventa, Hendrike. "Aspek Estetis dalam Cerita Pendek “Inu to Hito to Hana” Karya Ogawa Mimei". Chi'e: Journal of Japanese Learning and Teaching 8, n.º 1 (28 de marzo de 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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Tret'yakova, M. "AESTHETICIZATION OF EVERYDAY LIFE, SOVIET DESIGN, JAPANESE DESIGN AND «CRAFT» DESIGN". Technical Aesthetics and Design Research 2, n.º 1 (26 de septiembre de 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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Ortland, Eherhard. "The Aesthetics of Nature and the Art of Gardening in Japan". Dialogue and Universalism 7, n.º 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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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, n.º 28 (26 de diciembre de 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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Tesis sobre el tema "Japanese aesthetic"

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Inoue, Hiroshi. "Japanese aesthetic principles & their application". Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1116356.

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Japanese have been known to have a special notion toward the aestheticism which deals with human experiences. They are ingenious about finding subtle beauty within every little thing which exists in nature and apply that to their architecture. What are the secrets behind all this? This thesis focuses on the research of Japanese aesthetic principles to find out the way for application in the architecture in the United States.
Department of Architecture
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Athanasiadis, Basil. "The Japanese aesthetic of Wabi Sabi and its potential in contemporary composition". Thesis, University of Kent, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498818.

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許如珍 y Yu-chun Lorena Hui. "Japanese Noh theatre: the aesthetic principleof Jo-ha-kyu in the play Matsukaze". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31222729.

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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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Hui, Yu-chun Lorena. "Japanese Noh theatre : the aesthetic principle of Jo-ha-kyu in the play Matsukaze /". Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B21791004.

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Torniainen, Minna. "From austere wabi to golden wabi philosophical and aesthetic aspects of wabi in the Way of Tea /". Helsinki : Finnish Oriental Society, 2000. http://catalog.hathitrust.org/api/volumes/oclc/45347289.html.

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Carr, Harriet Christian. "Sweet Briar, 1800-1900: Palladian Plantation House, Italianate Villa, Aesthetic Retreat". VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/91.

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Sweet Briar House is one of the best documented sites in Virginia, with sources ranging from architectural drawings and extensive archives to original furnishings. Sweet Briar House was purchased by Elijah Fletcher, a prominent figure in Lynchburg, Virginia, in 1830. Thirty years later it passed into the possession of his daughter Indiana Fletcher Williams, and remained her home until her death in 1900. In her will, Williams left instructions for the founding of Sweet Briar Institute, an educational institution for women that exists today as Sweet Briar College. This dissertation examines Sweet Briar House in three distinct phases, while advancing three theses. The first thesis proposes that the double portico motif introduced by Palladio at the Villa Cornaro in the sixteenth century became the fundamental motif of Palladianism in Virginia architecture, generating a line of offspring that proliferated in the eighteenth century and beyond. The Palladian plantation (Sweet Briar House I, c. 1800) featured this double portico. In 1851, following the return of the Fletcher children from an extended Grand Tour of Europe, the house was remodeled as an Italianate villa (Sweet Briar House II, 1851-52). The second thesis advances the contention that by renovating their Palladian house into an asymmetrical Italianate villa, the Fletcher family implemented an ideal solution between the balanced façade that characterized the Palladian Sweet Briar House I and the fashion for the Picturesque that dominated American building in the second half of the nineteenth century. In 1876, the Williams family traveled to the Centennial Exhibition in Philadelphia, where visitors were presented with an unimaginable array of artistic possibilities from countless eras and nations, exactly the conditions that the Aesthetic Movement needed to flourish in America. The third thesis maintains that the Williams family’s decision to transform Sweet Briar House into an Aesthetic Movement retreat was inspired by their reaction to the Centennial, and in particular by their appreciation for the Japanese objects presented there.
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Silva, Hiroko Hashimoto da. "A estética do espaço na obra Pôr-do-Sol, de Dazai Osamu". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-31082010-143013/.

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Esta pesquisa visa analisar a estética do espaço e a estética literária empregadas na narrativa da obra Pôr-do-Sol, de Dazai Osamu, bem como resgatar a essência da cultura japonesa contemporânea de um Japão devastado pela Segunda Guerra Mundial, onde o autor expressa toda a sua sensibilidade poética. Este trabalho baseia-se na pesquisa biográfica de Dazai Osamu, com ênfase ao momento histórico que o autor testemunhou e onde realizou suas escritas, visando o levantamento da iconografia, pictografia e metonímia na linguagem de sua obra. Através deste estudo buscam-se os elementos que o enquadrem no gênero literário denominado Romance do Eu e as influências exercidas pelo Naturalismo europeu e movimentos sociais em sua carreira literária por meio da análise da hereditariedade, das influências do meio social no ambiente da obra e a estética literária empregada em sua técnica narrativa. O estudo desenvolvido demonstra as interferências ocidentais na Literatura Japonesa através da intertextualidade de obras japonesas e ocidentais, que dialogam entre si, e apresentam uma narrativa ao redor da estética do espaço na obra Pôr-do-Sol, retratando a essência humana, o irracional, as emoções, o onírico, as alegrias e desilusões inerentes a todos os seres humanos, principalmente na sociedade japonesa do período histórico do pós-guerra.
This research seeks analyze Dazai Osamu\'s spatial aesthetics and his literary style, which was used in his novel Setting Sun, besides to bring off essence of Japan Contemporary Culture, that was devastated in this country due to World War II. Another point of this study is the narrative aesthetics, where the writer expresses his poetic sensitiveness. This study is based on Dazai Osamu\'s autobiographic research, emphasizing a historical moment of Japan, which he witnessed and finished his writings despite of war; in his novel, Dazai aimed the language of: iconography survey, pictorial survey and metonymy language. This study will search for elements that fit in the literary genre named I Novel, as well as influences the writer suffered from European Naturalism and social movements in his literary carrier; Dazai analyzed the heredity and the influences of social means described in atmosphere of his work and the literary aesthetic (spatial) carried out in his narrative techniques. The study developed here points out western interference in Japanese literature, which can be noticed in the inter-textuality of literary works between west and east, that inter-act itself; therefore introduces a narrative related to spatial aesthetic in the Setting Sun which the writer describes the essence of human beings´nature such as: irrational feelings, the emotions, the day-dreams, the cheerfulness and disappointments, inherent in whole human beings, especially in the Japanese society in certain historical time after war.
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Fischer, Cynthia. "Thomas Jeckyll, James McNeill Whistler, and the Harmony in Blue and Gold: The Peacock Room: A Re-Examination". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3301.

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This dissertation uncovers three previously unrecognized innovations of Thomas Jeckyll in the Peacock Room. At the same time, the dissertation admits that sometimes James McNeill Whistler chose a more conventional path in the design of the room than previously acknowledged. The dissertation illuminates the often overlooked principle of Classical Decor, first described in the first century BC by Vitruvius, and analyzes how it was instituted in the Peacock Room. Four major points illustrate this conclusion. First, the meaning of the sunflower in the West is explored to account for the flower’s popularity and absorption into ancient heliotropic lore. Thomas Moore’s poetry may have inspired Aesthetic Movement designers such as Jeckyll to use the motif. Second, this dissertation demonstrates that the Peacock Room is only a distant descendant of the traditional European porcelain chamber. It was a new idea to turn the porcelain chamber into a dining room. Further, the room lacks two of the three key features of a porcelain room: lacquer panels and large plate-glass mirrors. When Whistler made the surfaces of this room dark and glossy, he made the room more traditional, aligning it with the customary lacquer paneling of porcelain rooms. And Jeckyll’s sho-dana shelving system in the Leyland dining room was without precedent in porcelain or other kinds of Western rooms, with influences from Japan and China. Third, Decor in the dining room was revealed as an established pattern in eating rooms from Ancient Roman triclinia to the present day. Fourth, Decor is present in the Peacock Room in four ways: in the trappings of the table used to decorate a dining room, in the darkness of this dining room, in the use of a foodstuff, the peacock, to decorate the room, and in the hearth’s sunflowers. Through the lens of the history of Western domestic interiors, significant innovations by Jeckyll have been brought to light, and the meaning of specific elements in the Peacock Room has been elucidated. Jeckyll and Whistler gave the world a sensational story in the Peacock Room but also a complex work of art that is only beginning to be illuminated.
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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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Libros sobre el tema "Japanese aesthetic"

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Zōen, ed. Secret teachings in the art of Japanese gardens: Design principles, aesthetic values. Tokyo: Kodansha International, 1991.

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Slawson, David A. Secret teachings in the art of Japanese gardens: Design principles, aesthetic values. Tokyo: Kodansha International, 1987.

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1883-1971, Shiga Naoya, ed. An artless art: The Zen aesthetic of Shiga Naoya : a critical study with selected translations. Richmond: Curzon, 1998.

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Shimamura Hōgetsu no bungei hihyō to bigaku riron: Literary criticism and aesthetic theory of Shimamura Hogetsu. Tōkyō-to Shinjuku-ku: Waseda Daigaku Shuppanbu, 2013.

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Watanabe, Toshio. "Japan to igirisu, Nichi-Ei bijutsu no kōryō, 1850-1930" ten: Japan and Britain, an aesthetic dialogue, 1850-1930. [Tokyo]: Setagaya Bijutsukan, 1992.

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Karasawa, Masahiro y Kōichi Mori. Momoyamatō ni miserareta 7-nin no tōgeika: Tōhen ni mananda waza to bi = Seven master ceramic artisans captivated by Momoyama pottery : aesthetic qualitities and techniques learnt from pottery sherd. [Nagoya-shi]: Chūnichi Shinbunsha, 2003.

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The aesthetics of Japanese fascism. Berkeley, Calif: University of California Press, 2009.

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

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Modern Japanese aesthetics: A reader. Honolulu: University of Hawaiʻi Press, 1999.

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William Rossetti's art criticism: The search for truth in Victorian art. Lanham: University Press of America, 1999.

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Capítulos de libros sobre el tema "Japanese aesthetic"

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Meli, Mark. "Japanese Aesthetic Concepts and Phenomenological Inquiry". En Gardens and the Passion for the Infinite, 243–52. Dordrecht: Springer Netherlands, 2003. http://dx.doi.org/10.1007/978-94-017-1658-1_16.

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Dunn, Cynthia Dickel. "Bowing Incorrectly: Aesthetic Labor and Expert Knowledge in Japanese Business Etiquette Training". En Japanese at Work, 15–36. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-63549-1_2.

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Chang, Wonsuk. "13. Euro-Japanese Universalism, Korean Confucianism, and Aesthetic Communities". En Confucianisms for a Changing World Cultural Order, editado por Roger T. Ames y Peter D. Hershock, 222–34. Honolulu: University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824873325-014.

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Kilpatrick, Helen. "The shôjo (girl) aesthetic in Japanese illustrated and picture books". En The Routledge Companion to International Children’s Literature, 329–40. Abingdon, Oxon; New York: Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315771663-34.

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Ryōsuke, ŌHASHI. "Japanese Worlds". En 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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Anan, Nobuko. "Introduction: Girls’ Aesthetics". En 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". En 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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"The Japanese Aesthetic". En Japanese Journeys, 183–96. BRILL, 2005. http://dx.doi.org/10.1163/9789004213777_015.

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"SEVEN. The Creation of Aesthetic Categories". En Modern Japanese Aesthetics, 141–68. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824863678-009.

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De Garis, Frederic y H. S. K. Yamaguchi. "Artistic, Aesthetic and Poetic Tastes of the Japanese". En We Japanese, 15–23. Routledge, 2013. http://dx.doi.org/10.4324/9780203039588-3.

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Actas de conferencias sobre el tema "Japanese aesthetic"

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Dong, Lili. "Research on Traditional Aesthetic Philosophy in the Japanese Literature". En 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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"Study on the Aesthetic Significance of "Mourning Sorrow" in Japanese Literature". En 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29186.

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Gao, Ge. "A Comparative Study of the Aesthetic Characteristics of Chinese and Japanese Tea Culture". En 2nd International Conference on Language, Communication and Culture Studies (ICLCCS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211025.037.

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Parque, Victor. "On a Class of Polar Log-Aesthetic Curves". En ASME 2021 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/detc2021-72184.

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Abstract Curves are essential concepts that enable compounded aesthetic curves, e.g., to assemble complex silhouettes, match a specific curvature profile in industrial design, and construct smooth, comfortable, and safe trajectories in vehicle-robot navigation systems. New mechanisms able to encode, generate, evaluate, and deform aesthetic curves are expected to improve the throughput and the quality of industrial design. In recent years, the study of (log) aesthetic curves have attracted the community’s attention due to its ubiquity in natural phenomena such as bird eggs, butterfly wings, falcon flights, and manufactured products such as Japanese swords and automobiles. A (log) aesthetic curve renders a logarithmic curvature graph approximated by a straight line, and polar aesthetic curves enable to mode user-defined dynamics of the polar tangential angle in the polar coordinate system. As such, the curvature profile often becomes a by-product of the tangential angle. In this paper, we extend the concept of polar aesthetic curves and establish the analytical formulations to construct aesthetic curves with user-defined criteria. In particular, we propose the closed-form analytic characterizations of polar log-aesthetic curves meeting user-defined criteria of curvature profiles and dynamics of polar tangential angles. We present numerical examples portraying the feasibility of rendering the logarithmic curvature graphs represented by a straight line. Our approach enables the seamless characterization of aesthetic curves in the polar co-ordinate system, which can model aesthetic shapes with desirable aesthetic curvature profiles.
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Shirahata, Ryo, Shin’ichi Agari y Kenjiro T. Miura. "Input of Log-Aesthetic Curves by Use of Control Points: Plugging an LA Curve Module in a Commercial Geometric Modeler". En ASME 2010 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/detc2010-29223.

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In the field of industrial design, the aesthetic design is an important element to determine the quality of products and it is inevitable for them to make it aesthetic and attractive to improve the total quality of the shape design. If we can find an equation of aesthetic curves, it is expected that the quality of the curve design improves drastically because we can use it as a standard to generate, evaluate, and deform the curves. The log-aesthetic curve was proposed to generate high-quality curves efficiently [6]. Harada et al. insist that natural aesthetic curves like birds’ eggs and butterflies’ wings as well as artificial ones like Japanese swords and key lines of automobiles have such a property that their logarithmic curvature histograms (LCHs) can be approximated by straight lines and there is a strong correlation between the slopes of the lines and the impressions of the curves. Miura et al. defined the LCH analytically with the aim of approximating it by a straight line and propose new expressions to represent an aesthetic curve whose LCH is given exactly by a straight line. Furthermore they derive general formulas of aesthetic curves that describe the relationship between their radiuses of curvature and lengths. Also they defined the self-affinity possessed by the curves satisfying the general equations of aesthetic curves. The proposed curve is called the log-aesthetic curve. Agari et al. [1] proposed a method to input compound-rhythm log-aesthetic curves by use of four control points. Yoshida and Saito [2] proposed a method to generate log-aesthetic curves using three control points by searching for one variable, although Agari’s method searches for two variables. In this paper we compare Agari’s method with Yoshida-Saito’s method, and check out whether both of them generate the same curve. Next, we propose an efficient method to input log-aesthetic curve segments with an inflection point. Furthermore we try to improve the quality and the efficiency of the aesthetic design by plugging an log-aesthetic curve module in a commercial geometric modeler “FullMoon”.
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Şirikçi, Tuğçe. "The Effect of Wood on Japanese Architecture: The Sample of The Horyu-Ji Temple". En 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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Shimode, Yutaro, Atsushi Endo, Chieko Narita, Yuka Takai, Akihiko Goto y Hiroyuki Hamada. "Skill Level Differences of Urushi Craftspeople in Urushi Products". En ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-88288.

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There are various traditional crafts in Japan. Japanese modern manufacturing industries have stemmed from the traditional crafts. And there is craftspeople’s wisdom in the traditional crafts technique inherited for years, which is well known as “tacit knowledge”. Especially in Kyoto which has 1200 years history, many traditional crafts have been inherited. In this study, Urushi crafts was focused. Japanese lacquer is called “Urushi” in Japanese. Urushi have meanings such as Urushi tree, its resin and also Urushi crafts. Urushi has been used 9000 years ago in Japan. In this long history, Urushi crafts techniques have been developed, refined and inherited by many Urushi craftspeople. As a result, Urushi affect Japanese culture and aesthetic feeling greatly. Urushi has been viewed as special, and admired as black with the highest grade. Therefore, the Japanese word “Shikkoku” has been generated, inhere, “Shi” means Urushi, and “Kkoku” means black color. Urushi has various characteristics. For example, Urushi coating surface is very smooth and glossy. It is considered that these characteristics are influenced by skill level of craftspeople. Then this study aims to analyze a difference between expert craftspeople and non-expert craftspeople in the painting process of Urushi. Body and eye motion between expert and non-expert craftspeople were analyzed and compared. As a result, there were differences in the time of painting with brush. And more there were differences in eye movement. It is considered that these differences were due to the difference of skill level, and in turn, the quality of Urushi products has been influenced.
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Shimode, Yutaro, Atsushi Endo, Chieko Narita, Seiji Higashi, Masuo Murakami, Yuka Takai, Hidekazu Yasunaga, Akihiko Goto y Hiroyuki Hamada. "Study on the Degradation Mechanism of the Urushi Products". En ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-87693.

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Japanese lacquer is called “Urushi” in Japanese. Urushi have meanings such as Urushi tree, its resin and also Urushi crafts. Urushi has been used 9000 years ago in Japan. In this long history, Urushi crafts techniques have been developed, refined and inherited by many Urushi craftspeople. As a result, Urushi affect Japanese culture and aesthetic feeling greatly. Urushi has various characteristics. For example, Urushi coating surface is very smooth and glossy. And more, Urushi is strong to acid and alkali. However it is very weak to ultraviolet rays. As a result, Urushi coating is degraded very quickly in sunlight. In this study, 6 specimens were prepared by painting 6 kinds of Urushi resins on PMMA (polymethylmethacrylate) boards. Weathering tests of these 6 specimens were done to clarify the degradation of Urushi coating. Additionally, L* value (Brightness), C* value (Chroma) were also measured by spectrophotometric colorimeter to investigate the influence of the degradation on the optical characteristics. Both L* value and C* value were increased after weathering test in most specimens. Glossiness values of specimens were measured by gloss checker. As a result, glossiness values were decreased after weathering test in most specimens. There was a difference in advance of degradation according to the kind of Urushi. Then when Urushi is used, there are necessities of proper use and change of refining method for Urushi.
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Chen, Xiaofei. "Spatial Structure in Chinese and Japanese Cities: A Comparative Study of the Supergrid and Superblock Structure". En 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.4555.

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Title: Spatial Structure in Chinese and Japanese Cities: A Comparative Study of the Supergrid and Superblock StructureAuthor Name: Xiao Fei Chen Affiliation: Faculty of Architecture Design and Planning, The University of Sydney Address: The Wilkinson Bldg G04, 148 City Rd, Darlington NSW 2008 Email Address: xche3951@Sydney.edu.au Mobile: 61 (02) 0450875226 Keywords: Supergrid and Superblock, Urban Morphology, China and JapanAbstract:Supergrids and Superblocks form an urban structure that extends across large areas of many Chinese and Japanese cities. The grid structures consist of wide roads at a city scale and define Superblocks, each with a network of narrower streets. My paper investigates the form-function interrelationships of these structures from morphological perspectives against a backcloth of theory that stresses an integrated network of streets as the prerequisite for a convenient and synergetic environment, with a specific focus on road/street networks, and mix and distribution of functional activities. Both qualitative and quantitative methods (including space syntax) are used to investigate four Superblocks from two pairs of Chinese and Japanese cities: Xi’an and Kyoto, and Nanjing and Osaka, from three aspects: integration, connection and interaction. Here I focus on the Nanjing-Osaka pair and the findings demonstrate clear but divergent patterns between the two cities, which are indicative of general differences between Chinese and Japanese Superblocks: there are very strong interrelationships between the street network and distribution of activities in the Japanese Superblocks, but these are much less evident in the Chinese Superblocks and this results largely from the extensive Chinese cultural practice of building walls around compounds. It reveals some structural disadvantages, leading to congestion of traffic and functional activities in some strategic locations in Chinese Superblocks. It also highlights some crucial qualities in the structures of many Japanese Superblocks that can provide inspiration for China’s future urban development and possibly for cities in other parts of the world.Reference:Alexander, C. (1965) ‘A city is not a tree’, Architectural Forum 122, 58-62. Ashihara, Y. (1983) The Aesthetic Townscape, US: Massachusetts Institute Technology Press Halliday Lithograph. Bentley et al., (1985) Responsive environments: a manual for designers (London: Architectural Press). Hillier, B. (1996) Space is the machine (Cambridge University Press, Cambridge). Jacobs, J. (1961) The death and life of great American cities (New York: Random House). Marshall, S. (2005) Streets & Patterns, (Spon Press, Taylor & Francis Group). Shelton, B. (2012) Learning from the Japanese City: Looking East in Urban Design (Routledge imprint of Taylor & Francis, London). Zhu, W.Y. (2010) Space, Symbol and City: a Theory of Urban Design (China Architecture & Building Press, Beijing.
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Ohkura, Michiko y Tetsuro Aoto. "Systematic Study of Kawaii Products: Relation Between Kawaii Feelings and Attributes of Industrial Products". En ASME 2010 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/detc2010-28182.

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In Japan, the cute aesthetic is abused by many organizations and for many purposes including police mascots, and warning signs for dangerous areas. Although using cute to motivate and inform might seem strange, cute does offer potential. Dr. Cheok and his team at the National University of Singapore argued that Japanese ‘kawaii’ embodies a special kind of cute design, which reduces fear and makes dreary information more acceptable and appealing. Various Japanese kawaii characters such as Hello Kitty and Pokemon have become popular all over the world. However, since few studies have focused on kawaii attributes, we systematically analyze the kawaii interfaces themselves: kawaii feelings caused by such attributes as shapes, colors, and materials. Our aim is to clarify a method for constructing a kawaii interface from the research results. Kawaii might be one important kansei value for future interactive systems and industrial products of Asian industries. We previously performed experiments and obtained interesting tendencies about such kawaii attributes as shapes, colors, and sizes. Although questionnaires are the most common form of kansei evaluation, they suffer from such demerits as linguistic ambiguity, the possibility of mixing the intensions of experimenters and/or participants into the results, and interruption of the system’s stream of information input/output. Thus, to compensate for these demerits, we examined the possibility with biological signals. In this article, these experiments and their results are outlined.
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