Artículos de revistas: "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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Dmitruk, Natalia. "Wierzenia z perspektywy estetyki japońskiej. Mushishi Yuki Urushibary". Literatura i Kultura Popularna 23 (31 de mayo de 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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12

Gladkova, Anna y Jesús Romero-Trillo. "The linguistic conceptualization in folk aesthetics". International Journal of Language and Culture 8, n.º 1 (7 de junio de 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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13

Hoang Thi My, Nhi y Thao Nguyen Thi Phuong. "Aesthetic philosophy of Aware aesthetic throughout The Tale of Genji by Murasaki Shikibu". Journal of Science Social Science 66, n.º 3 (agosto de 2021): 20–30. http://dx.doi.org/10.18173/2354-1067.2021-0043.

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Japanese culture has flourishing, diversity and unique culture in Asia. Appearance of the aesthetic system in the early period and profound effects of aesthetic conception on artistic and cultural life are typical causes connecting the national cultural identities. In which, aware aesthetic has a great influence and enduring vitality in national culture, especially in literature. The article presents the theoretical framework concerning aesthetic philosophy ingeneral and aware aesthetic in particular. From this poit onward, study focuses on philosophical aesthetic of aesthetic such as the time of life, the beauty and loneliness throughout The Tale of Genji by Murasaki Shikibu. This paper explores concept the life and the beauty in Japanese thoughts in the Heian period.

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14

Zimenko, T. V. "The Concept of Taste in South Korea: Historical, Aesthetical and Philosophical Aspects". Concept: philosophy, religion, culture 4, n.º 4 (29 de diciembre de 2020): 83–101. http://dx.doi.org/10.24833/2541-8831-2020-4-16-83-101.

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The focus of this paper is on the Korean aesthetic model of taste. In order to investigate the origins of aesthetics in Korea and its current place in Koreans’ lives, it analyzes the key concepts of the Korean aesthetics and spiritual aspects of life for Koreans. In a way to exemplify this cultural system, traditional Korean food is presented as a conceptual representation of the aesthetic experience. Its role in integrating different aspects of meanings and values in everyday lives of Koreans is also discussed. The research subject is studied through the complex lenses: its association with both the gastronomic taste, which comprises organoleptic perception and aesthetic judgements, and the semiotic aspect of culture, represented by basic units thereof – words. The optics of the interdisciplinary outlook of this method suggests a new approach to viewing Korean aesthetic of taste. The research shows that scientific approach to aesthetics was first adopted in Korea in the 1930s under the cospicuous cultural influence of the Japanese colonial rule; the ideas formed at that time still remain important aesthetic concepts. The study proposes that meot should be viewed as the most important and representative concept in Koreans’ everyday aesthetic experience. The cultural and historical analysis of Korean gastronomic culture suggests there is a number of specific cultural and cosmogonic meanings that were typical of the royal cuisine during the Joseon era and demonstrates how certain Korean dishes are endowed with aesthetic and existential values today.

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15

Zimenko, T. V. "The Concept of Taste in South Korea: Historical, Aesthetical and Philosophical Aspects". Concept: philosophy, religion, culture 4, n.º 4 (29 de diciembre de 2020): 83–101. http://dx.doi.org/10.24833/2541-8831-2020-4-16-83-101.

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The focus of this paper is on the Korean aesthetic model of taste. In order to investigate the origins of aesthetics in Korea and its current place in Koreans’ lives, it analyzes the key concepts of the Korean aesthetics and spiritual aspects of life for Koreans. In a way to exemplify this cultural system, traditional Korean food is presented as a conceptual representation of the aesthetic experience. Its role in integrating different aspects of meanings and values in everyday lives of Koreans is also discussed. The research subject is studied through the complex lenses: its association with both the gastronomic taste, which comprises organoleptic perception and aesthetic judgements, and the semiotic aspect of culture, represented by basic units thereof – words. The optics of the interdisciplinary outlook of this method suggests a new approach to viewing Korean aesthetic of taste. The research shows that scientific approach to aesthetics was first adopted in Korea in the 1930s under the cospicuous cultural influence of the Japanese colonial rule; the ideas formed at that time still remain important aesthetic concepts. The study proposes that meot should be viewed as the most important and representative concept in Koreans’ everyday aesthetic experience. The cultural and historical analysis of Korean gastronomic culture suggests there is a number of specific cultural and cosmogonic meanings that were typical of the royal cuisine during the Joseon era and demonstrates how certain Korean dishes are endowed with aesthetic and existential values today.

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16

Carlson, A. "ON THE AESTHETIC APPRECIATION OF JAPANESE GARDENS". British Journal of Aesthetics 37, n.º 1 (1 de enero de 1997): 47–56. http://dx.doi.org/10.1093/bjaesthetics/37.1.47.

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17

Fraser, Karen M. "Fukuhara Shinzō and the “Japanese” Pictorial Aesthetic". Review of Japanese Culture and Society 26, n.º 1 (2016): 209–27. http://dx.doi.org/10.1353/roj.2016.0013.

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18

Kim, Yongcheol. "Tenshin Okakura’s Research of Japanese Aesthetic Consciousness". Journal of Japanese Thought 39 (31 de diciembre de 2020): 7–30. http://dx.doi.org/10.30615/kajt.2020.39.1.

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19

Sugiyama, Kazuo y Jiro Tajima. "Japanese Manual for the Aesthetic Design of Bridges". Transportation Research Record: Journal of the Transportation Research Board 1624, n.º 1 (enero de 1998): 47–53. http://dx.doi.org/10.3141/1624-06.

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The Japan Society of Civil Engineers first published Manual for the Aesthetic Design of Bridges in 1982, and Volume 2 was published some 11 years later, in 1993. The primary intention of this paper is to introduce this second volume. More specifically, the background and events leading to its publication (and that of the preceding Volume 1) are discussed, as well as the manual’s approach to introducing the aesthetic aspects of bridge design to those involved in their construction. A range of keywords was sought in an attempt to establish conventions in bridge form. Further, the concept of continuity, the main theme of the manual, is introduced, together with a discussion of the advantages and limitations of this single-theme approach. It is shown how this one theme captures the essential elements of “good form,” “organized form,” and “unified form” and how it can be applied to both physical continuity and conceptual continuity. Continuity is also presented as embodying three aspects: connection, continuity, and recurrence. In conclusion, it is proposed that the achievement of continuity is a fundamental concept in aesthetic bridge design.

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20

박혜자. "Japanese Aesthetic Words: Key Contents and Their Use". Journal of Foreign Studies 14, n.º 1 (junio de 2010): 189–212. http://dx.doi.org/10.15755/jfs.2010.14.1.189.

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21

Suzuki, Miho, Jiro Gyoba y Michiko Kano. "Analyzing the Aesthetic Impressions of Alexithymic Japanese Students". Psychological Reports 94, n.º 2 (abril de 2004): 669–82. http://dx.doi.org/10.2466/pr0.94.2.669-682.

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We investigated the association between alexithymic tendencies as measured by the 20-item Toronto Alexithymia Scale and the characteristics of aesthetic impressions for words and drawings. Impressions were measured using the semantic differential technique in three groups of Japanese students (High scores n = 31, Moderate scores n = 40, and a Control group n = 182) who were presented only words (Word condition), only drawings (Drawing condition), or pairs comprising one word plus one drawing that represented the same emotional categories (Drawing/Word condition). In a factor analysis on the data from participants, three factors (Evaluation, Activity, and Potency) were extracted. Based on the factor scores, the distances among the three conditions were calculated for each of the groups. For Potency, significant group differences were found between the Drawing/Word and other conditions. In the High-scoring alexithymia group, in particular, the Potency impressions based on tactile sensation, e.g., soft–hard, blunt–sharp, were amplified regardless of stimulus condition. These results are discussed in the context of somatosensory amplification associated with alexithymia and the difficulty of distinguishing between emotion and somatic sensations.

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22

Fowler, Michael. "Mapping sound-space: the Japanese garden as auditory model". Architectural Research Quarterly 14, n.º 1 (marzo de 2010): 63–70. http://dx.doi.org/10.1017/s1359135510000588.

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Japanese culture, through its art, language and religion, is a result of accumulated flows of knowledge from China and Korea. The traditions of garden design and garden construction, similarly, are ‘a space of flows’ from classical Chinese models though, after centuries of development and refinement, have become distinctly reflective of Japanese culture and aesthetics. The first recorded instance of this knowledge flow reaching Japan appears in the eleventh century. The first treatise on Japanese garden design, Sakuteiki (garden making), is attributed to Tachibana no Toshitsuna, a court official and designer of gardens. Though the treatise contains no illustrations, much of the text is precise, and its content reflective of the cultural and aesthetic predilections of the Confucianist Heien court. Other treatises may have been extant during the Heien period (794–1185), though they are now lost.

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23

Zhang, Siqi y Chunshu Chen. "Sori Yanagi’s Industrial Design Aesthetics". Journal of Asian Research 5, n.º 4 (23 de noviembre de 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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24

Gil Farré, Núria. "The Adoption of Japanese Imagery in Catalan Art Nouveau Stained Glass". Journal of Japonisme 6, n.º 2 (26 de agosto de 2021): 95–158. http://dx.doi.org/10.1163/24054992-06020001.

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Abstract In the late nineteenth century, Catalonia witnessed an exponential increase in the use of and predilection for the designs and aesthetic characteristics of Japanese art in the design of stained glass. At the time, oriental forms were received with enthusiasm, which resulted in the development of production of artistic stained glass, inspired by these new models. This article focuses on the different ways in which Japanese-based designs made their way from Japan to the stained glass workshops of Catalonia, where they were transformed into spectacular pieces, some of which are still preserved today. In addition, the article examines how stained glass makers assimilated the aesthetics and compositional concepts of Japanese art and made them their own, adapting them to their needs while creating innovative stained glass that helped them to, paradoxically, converge with the medieval stained glass on which they were based.

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Gottesman, Zachary Samuel. "The Rotoscopic Uncanny: Aku no Hana and the Aesthetic of Japanese Postmodernity". Animation 13, n.º 3 (noviembre de 2018): 192–206. http://dx.doi.org/10.1177/1746847718799416.

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CGI has led to a theoretical revolution in media studies. What is cinema when reality can be created on a computer? What is animation when superflat 2D aesthetics are becoming haunted by 3D digital graphics? This article adds a third term to the debate: rotoscoping. The author analyzes the first exclusively rotoscoped Japanese anime, Aku no Hana (The Flowers of Evil), a contemporary reinterpretation of Charles Baudelaire’s Les Fleurs du Mal that reflects on postmodern malaise, rural decay and depopulation, and otaku escapism, in order to examine the aesthetic of the rotoscope in relation to cinema and anime. He argues that rotoscoping is an uncannying of the cinematism and animitism, or a polemical response to both the ideologies of Disney immersive realism and anime flat animation. The article investigates the narrative’s ‘writer of postmodern life’ Sawa Nakamura in relation to Baudelaire’s modernism and the conditions of postmodernity themselves: the structure of Japanese imperialism today and its effect on Gunma prefecture, the setting of the show. Finally, the author analyzes the hostile response to the show among otaku to explore how the hauntology of the rotoscopic machine channels the ghosts of neoliberalism, the super-exploited laborers of the third world.

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Cesereanu, Ruxandra. "Garden of Paradise. Japanese Identity in Sei Shonagon’s The Pillow Book". Caietele Echinox 40 (28 de junio de 2021): 209–16. http://dx.doi.org/10.24193/cechinox.2021.40.17.

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"This text focuses on the identity of the Japanese garden as an accomplished aesthetic act, in the manner depicted in the official diary of Sei Shonagon’s, a lady living at the Japanese imperial court, around the year 1000. Nature is sieved through an aesthetics of concentric circles, in which human life turns into a painstakingly pen crafted page, strictly owing to the perfection of artistic integration in the nature. But Nature, and more specifically the garden that Sei Shonagon details with refinement in The Pillow Book, is a specific clue to the concept of Japanese identity. traditional sensitivity in their relationship to the world. With a tendency to integrate with nature or their environment and to depend on others, they favor the relationship to others, as well as that between humankind and the world, which determines their identity. It is through integration into the circumstantial dimension that human beings form themselves and become aware of themselves. It follows that collective identity is stronger and more dominant than individual identity. This human way of being constitutes an essential aspect of Japanese culture and is represented in the architecture of traditional Japanese houses. Reflection on the spatiality specific to the Japanese lifestyle can promote a deep dialogue about human identity between different cultures."

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27

McLeod, Ken. "Afro-Samurai: techno-Orientalism and contemporary hip hop". Popular Music 32, n.º 2 (mayo de 2013): 259–75. http://dx.doi.org/10.1017/s0261143013000056.

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AbstractThis article examines the practice and recent rise in the use of various aspects of Japanese popular culture in hip hop, particularly as manifest in the work of RZA, Kanye West and Nicki Minaj. Often these references highlight the high-tech, futuristic aesthetic of much Japanese popular culture and thus resonate with concepts and practices surrounding Afro-futurism. Drawing on various theories of hybridity, this article analyses how Japanese popular culture has informed constructions of African American identity. In contrast to the often sensational media coverage of racial tensions between African American and Asian communities, the nexus of Japanese popular culture and African American hip hop evinces a sympathetic connection based on shared notions of Afro-Asian liberation and empowerment achieved, in part, through a common aesthetic of technological mastery and appropriation. The synthesis of Asian popular culture and African American hip hop represents a globally hybridised experience of identity and racial formation in the 21st century.

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28

Noh, Susan Soomin. "Co-opting the nation brand: The politics of cross-cultural co-production". International Journal of Cultural Studies 23, n.º 6 (6 de mayo de 2020): 860–78. http://dx.doi.org/10.1177/1367877920915926.

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This paper analyzes the political implications of aesthetic mimicry in the popular mobile game, Onmyoji. Created by the Chinese company, NetEase, Onmyoji takes advantage of the expansive network of signifiers revolving around the historical Japanese figure, Abe-no-Seimei, and co-opts this network to display a recognizable Japanese popular aesthetic. By remixing elements of Japanese culture, Onmyoji presents a commodifiable and mediated image of Japanese cultural authenticity that is recognizable globally. Mimicry and the co-opting of another nation’s cultural signifiers initiates a negotiated process of ambivalent national self-empowerment that has since resulted in shifting labor flows within the digital entertainment industries in East Asia. The malleability of cultural signifiers allows for the purposeful framing of global media texts. Such multivalent encodings of recognizable symbols emerge from the provocative slippages between media boundaries. This, in turn, engages with the dialectical processes of nation branding within the framework of transnational co-production models.

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29

Tansman, Alan. "Reading Fascism's Form". Representations 104, n.º 1 (2008): 144–53. http://dx.doi.org/10.1525/rep.2008.104.1.144.

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30

Kuchai, Tetiana. "Aesthetic Education of Primary School Pupils as an Integral Part of the National System of Continuous Art Education in Japan". Comparative Professional Pedagogy 4, n.º 3 (1 de septiembre de 2014): 83–88. http://dx.doi.org/10.2478/rpp-2014-0040.

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Abstract The article examines aesthetic education of primary school pupils as an integral part of the national system of continuous art education in Japan. One of the most important traditional means of aesthetic education in Japan, according to L. Tsaryova is considered nature. Analysis of the scientific literature by domestic and foreign scientists suggests that instead of collective worship the Japanese established habits that help people develop artistic taste. Having considered the traditions of: tea ceremony, admiring nature; writing, which doesn’t differ from painting and so on, one should point out that the traditions are valuable and remain till nowadays thus promoting the aestheticization of the Japanese people.

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31

Belova, Darya Nikolaevna. "Female Images in Chinese and Japanese painting". Культура и искусство, n.º 5 (mayo de 2021): 114–38. http://dx.doi.org/10.7256/2454-0625.2021.5.35526.

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This article analyzes female images in Chinese and Japanese painting (Bijin-ga). The subject of this research is the depiction of Chinese beautiful women on the scrolls of the X – XVII centuries and Japanese woodblock printing of the XVII – XIX centuries. Attention is given to the works of modern artists. It is noted that the aesthetic ideals are oriented towards the perception of beauty in the context of national culture of China and Japan, which undergo changes in each era, nurtured by Buddhism, Shintoism, Taoism and Confucianism, which contributed to the development of female image and symbolic sound. The fact that the worldview orientation towards women and their status in the Far Eastern society faded away defines the relevance of the selected topic. The novelty of lies in the comparative analysis of philosophical-aesthetic traditions of Chinese and Japanese painting, reflected in female images in the historical development, with the emphasis on its modern development. The conclusion is made that the assessment of female image in Chinese and Japanese art requires taking into account the national mentality, spiritual traditions, and interinfluence of cultures. The perception of the changing image of women in society plays a special role. It is determined that the depiction of women in clothes and face paint that conceals their body shape and facial emotions, deprive a woman of her individuality and lower her social status. Such trend remains in the contemporary art of these countries. Up until now, female images resemble the symbolism of depiction, closeness to nature, interweaving of external and internal content substantiated by the aesthetic, ethical and philosophical saturation of painting, indicating the uniqueness of each culture and its national heritage.

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Miller, Laura y Carolyn S. Stevens. "From beautiful to cute". International Journal of Language and Culture 8, n.º 1 (7 de junio de 2021): 62–83. http://dx.doi.org/10.1075/ijolc.00035.mil.

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Abstract Japanese visual aesthetics as represented in traditional arts such as flower arranging, calligraphy and tea ceremony have long been celebrated or even emulated as exemplary expressions of beauty. The Japanese term utsukushii (beautiful) can be used to describe a wide variety of pleasing aspects of daily life, ranging from the human form to nature and even the gustatory experience. This article outlines traditional notions of beauty in the Japanese language, sketching forward to more contemporary expressions of visual culture that cluster around the term kawaii. This word is often translated as “cute” in English, but we maintain that kawaii extends well beyond its denotative sense to encompass a more complex spectrum of meanings. For example, it can be used to describe objects and practices which have both sentimental charm as well as dark humour. We argue that the kawaii aesthetic has been successful because it serves important emotional and social functions. Finally, the differences between the terms utsukushii and kawaii are gendered and class based, with kawaii often providing a democratic expression of resistance to gendered processes of aging, ideas of class and taste, and attractiveness in Japan’s postmodern society. This essay begins with an overview of the semantic meanings of the concepts of beauty and cuteness in Japanese, followed by a discussion focused on the historical antecedents of the Japanese notion of cuteness. The third section shifts to an analysis of the expansion of the kawaii concept in post-war society and its socio-cultural functions. The essay closes with exploration of a few of the hybrid offshoots derived from kawaii, demonstrating that concepts of beauty in Japan are constantly changing and reacting to social and historical trends.

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Genova, Pamela A. "Crossing Cultural and Aesthetic Frontiers: Yves Bonnefoy and the Dynamics of Haiku". Irish Journal of French Studies 15, n.º 1 (1 de diciembre de 2015): 25–40. http://dx.doi.org/10.7173/164913315817039216.

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Ever since the opening of the ports of Japan to the West in 1854, French authors have participated in a fruitful dialogue of East-West exchange, to which the work of Yves Bonnefoy adds an engaging dimension. Bonnefoy, who reads Japanese and has spent time in Japan, has carried on throughout his career an equivocal relationship with Japanese aesthetics, especially notable in his complex views on haiku. Early on, Bonnefoy critiqued the form as a hollow discursive structure inattentive to the crucial referential relationship between art and world that he underscored in his own work as primary. Yet, interestingly, critics have described similarities between Bonnefoy's poetry and Japanese haiku, and indeed Bonnefoy later recanted his negative critique of the form. In the 1989 essay, 'Du haïku', he argues in fact that haiku embodies pure presence, expressing a kind of third dimension, situating itself in the space of the world and in the mind's eye, as it communicates the plenitude of being.

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34

Sergile, Suzanne L. y Kazuo Obata. "Mikamo's Double-Eyelid Operation: The Advent of Japanese Aesthetic Surgery". Plastic and Reconstructive Surgery 99, n.º 3 (marzo de 1997): 662–67. http://dx.doi.org/10.1097/00006534-199703000-00008.

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35

Fillinger, Martin G. y Ronald Hübner. "Relations Between Balance, Prototypicality, and Aesthetic Appreciation for Japanese Calligraphy". Empirical Studies of the Arts 38, n.º 2 (15 de octubre de 2018): 172–90. http://dx.doi.org/10.1177/0276237418805656.

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Aesthetic appreciation of pictures partly depends on the perceptual balance of their elements. This relation has also been supported by objective measures predicting balance ratings as well as preference. Gershoni and Hochstein, however, applied these measures to Japanese calligraphies and failed to find such a relation, which questions the generality of these balance concepts. In our first experiment, we, therefore, tried to replicate these results with a slightly different method. In addition, we calculated further balance measures and collected liking ratings. As result, perceptual balance was again uncorrelated with the measures and with liking. In a second experiment, participants assessed the perceptual stability of the calligraphies, which was considered as alternative concept of balance, and their prototypicality. After discounting the effects of prototypicality on liking, there were correlations between liking and stability and between liking and one of the balance measures. However, the correlations were reliable only for atypical calligraphies.

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36

Railey, Jennifer Mcmahon. "Dependent origination and the dual‐nature of the Japanese aesthetic". Asian Philosophy 7, n.º 2 (julio de 1997): 123–32. http://dx.doi.org/10.1080/09552369708575457.

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JOHN, JOSEPH D. "Experience as Medium: John Dewey and a Traditional Japanese Aesthetic". Journal of Speculative Philosophy 21, n.º 2 (1 de enero de 2007): 83–90. http://dx.doi.org/10.2307/jspecphil.21.2.0083.

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Frențiu, Rodica y Florina Ilis. "‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese Calligraphy". Eikon / Imago 10 (8 de febrero de 2021): 311–22. http://dx.doi.org/10.5209/eiko.74154.

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The premise of the approach in the present paper is the interpretation of Japanese calligraphy as an artistic act and the reception of the calligraphic work of art as the object of the aesthetic relation. By combining the theoretical analysis of the main artistic functions of calligraphy –as both a representative and an expressive art – with the practice of calligraphic art, the present endeavour aims to identify the factual and artistic poetics of this visual (pictorial) and verbal art. As such, our study focuses on the particularities of the calligraphic work of art, given by its means of existence: its object of immanence is concurrently a physical and an ideal object (through its linguistic scriptural contents). In our analysis, the Japanese calligraphic art becomes the object of a reading that exploits the Western and Eastern aesthetic poetic theories, in an attempt to explore this art’s means of existence, functioning, and reception, by revealing its calligraphicity, or its artistic-aesthetic quality. As a reflection on the relation between the image and the word, and on the coherence of the vision triggered by it, based on the characteristics of the visible, our study is an original approach that analyses and interprets the vocabulary and the formal style of a unique artistic field that begins with a linguistic expression, as a means of representation, and culminates with an abstract form of expression, as a means of presentation.

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Jiang, Anfei y Jinbo Sun. "The Desolation of Nihility: Aesthetic Analysis of Japanese Domestic Ceramics from the Perspective of Japanese Zen Culture". E3S Web of Conferences 179 (2020): 02095. http://dx.doi.org/10.1051/e3sconf/202017902095.

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The culture of Zen comes into two diverse paths in China and Japan. Compared to China, the Japanese Zen culture has characteristics of natural, plain, sensitive, vanity and silence. It is unrestrained with feeble and desolation. And these characteristics are presented in Japanese domestic ceramic in the unique beauty of its domestic ceramic.

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40

Hioki, Naoko Frances. "Tea Ceremony as a Space for Interreligious Dialogue". Exchange 42, n.º 2 (2013): 125–42. http://dx.doi.org/10.1163/1572543x-12341260.

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Abstract This paper explores the potential of Japanese tea ceremony to be an aesthetic space for inter-religious dialogue. Through a study of historical encounters that took place between European Jesuit missionaries and Japanese tea masters in the late 16th century, this paper elucidates the missionaries’ experiences of tea ceremonies and discusses the validity and limitation of a tea house as a space for cross-cultural and interreligious dialogue. The fruit of tea ceremony in terms of interreligious dialogue includes a shared sense of aesthetic communion that is attained through communal enjoyment of the beauty of nature and drinking a cup of tea in an isolated tea house, where guests are invited to cast away worries of everyday business, as well as their social and religious differences; whereas its limitation pertains to marked indifference toward verbal communication that is characteristic to the way of tea, and thus the historical missionaries’ experience was limited to aesthetic paradigm and did not lead to logical understanding of doctrinal differences between Buddhists and Christians.

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41

Grishin, Mikhail V. "Japonism as a Pan-European Cultural Phenomenon at the Turn of the 19th and 20th Centuries". Observatory of Culture, n.º 2 (28 de abril de 2015): 130–36. http://dx.doi.org/10.25281/2072-3156-2015-0-2-130-136.

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Explores this phenomenon of European culture. The author believe that it was a result of a strong visual influence produced by Japanese art on Western European culture. It was for the first time that the West perceived an alien culture as equal and Japonism may be regarded as an aesthetic reception of Japanese arts related to the European dream about a Kingdom of Beauty.

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42

Frisch, Simon. "The Aesthetics of Flow and Cut in the Way of Film: Towards Transnational Transfers of East Asian Concepts to Western Film Theory". Arts 8, n.º 3 (16 de septiembre de 2019): 119. http://dx.doi.org/10.3390/arts8030119.

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The general concepts in theorising the aesthetics of film are still rooted in occidental traditions. Thus, thinking about film is dominated by Western terms and aesthetic paradigms—such as “pieces of work”, the representation of reality or regarding the arts as an act of communication. From such an angle, it is difficult to describe different characteristics of the cinematic image, for example, its ephemeral character. In contrast to occidental thinking, the cultural traditions of East Asia are based on the concept of the way (dō or dao), which allow for the description of aesthetics of transitions and transformations. Inspired by the concept of kire-tsuzuki, as developed by the Japanese–German philosopher Ryōsuke Ōhashi, I shall, in this paper, describe some alternative ways of understanding appearance and occurrence in relation to the cinematic picture.

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43

Johnson, Annika K. "An Aesthetic Experience: Japonisme in the North” Framing Japanomania". Journal of Japonisme 1, n.º 2 (22 de agosto de 2016): 211–26. http://dx.doi.org/10.1163/24054992-00012p04.

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Review of the exhibition Japanomania in the Nordic Countries, 1875-1918 which opened at the Helsinki Ateneum Museum February 18, 2016. The exhibition examined over 400 works in all media that revealed how the mania for all things Japanese shaped Nordic aesthetics at the turn of the century. The exhibition goes on to Oslo and Copenhagen through 2017, and it has a catalogue published in five separate language editions with the English version being distributed by Yale University Press.

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Carmona, Matthew y Aya Sakai. "Designing the Japanese city – An individual aesthetic and a collective neglect". URBAN DESIGN International 19, n.º 3 (6 de noviembre de 2013): 186–98. http://dx.doi.org/10.1057/udi.2013.29.

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45

Kim, Yonson. "A Study on the Japanese Aesthetic in the Rei Kawakubo's Design". Fashion business 18, n.º 2 (30 de junio de 2014): 113–31. http://dx.doi.org/10.12940/jfb.2014.18.2.113.

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46

Kongsuwan, Waraporn, Yuko Yasuhara, Tetsuya Tanioka, Rozzano Locsin y Kyoko Osaka. "Aesthetic expression of caring in nursing among Japanese undergraduate nursing students". Nurse Education Today 105 (octubre de 2021): 105031. http://dx.doi.org/10.1016/j.nedt.2021.105031.

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Niikuni, Keiyu, Min Wang, Shiori Kato, Michiru Makuuchi, Masatoshi Koizumi y Sachiko Kiyama. "Emotional responses to Japanese aesthetic and comic poetries: A pupillometric study". Proceedings of the Annual Convention of the Japanese Psychological Association 84 (8 de septiembre de 2020): PL—006—PL—006. http://dx.doi.org/10.4992/pacjpa.84.0_pl-006.

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48

Awano, Takashi. "A study on the preservation situation and spatial characteristics of Japanese style garden built in Taiwan during the Japanese rule". Impact 2020, n.º 6 (16 de noviembre de 2020): 70–72. http://dx.doi.org/10.21820/23987073.2020.6.70.

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Japanese well developed cultural and aesthetic styles have influenced architecture, décor and landscaping around the world. Japanese influence has been particularly marked in eastern Asian countries such as Taiwan, where the nation's colonisation efforts between 1895 and 1945 led to a trend for garden design and landscaping at the time to demonstrate strong characteristics of Japanese style. The gardens created during this time showed a unique blend of Japanese and Taiwanese influences not otherwise found in landscape architectural history. Associate Professor Takashi Awano, from the Department of Landscape Architecture Science at Tokyo University of Agriculture, leads a study that looks into the preservation status, the construction and design processes and the characteristics of land allocation and design of Japanese gardens in palaces, official residences and other key locations during the Japanese occupation of Taiwan

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49

Skvortsova, E. L. "Nishida Kitaro’s Views on Japanese Culture". Russian Journal of Philosophical Sciences, n.º 8 (28 de noviembre de 2018): 46–66. http://dx.doi.org/10.30727/0235-1188-2018-8-46-66.

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Nishida Kitaro (1870–1945) is a well-known Japanese philosopher whose work is marked by attempts to combine the world outlooks of the national spiritual tradition with elements of European philosophical thought. The article analyzes Nishida’s views on culture that are an independent part of his original philosophical theory. Religion, art, morality, science are the ideal forms of being in the historical world. The work of a scientist or artist is a manifestation of the formative activity of a person. The historical world as the “sphere of absolute nothingness” is the final point of the introspection of “nothingness,” where reality comprehends the identity of its opposites through human activity. Nothingness, or “Emptiness,” in the East Asian tradition has another, dynamic, dimension – these are the relations between people and the relations between man and the cosmos, or Nature, which are not perceived by rough human feelings and not comprehended by equally rough mind. Nishida stressed that for Japan the issue of the authenticity of the national foundations of culture, separated from Chinese and Indian influences, has a clearly positive answer in the aesthetic sphere: in the field of traditional poetics. The traditional aesthetics of Japan reflects the archetypal structure of the national culture. All world cultures have a common prototype, but each of them is a deviation, one-sidedness of this prototype. In the West, a culture of the form triumphed, beginning with Plato and Aristotle. In Japan, on the contrary, the culture was characterized by fluidity, processability, formlessness. In fact, Nishida is one of founding fathers of modern Japanese cultural studies.

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Shalina, Irina Victorovna y Larisa Alexandrovna Vorobyova. "The content and modelling aspect of coloratives in Japanese linguoculture". SHS Web of Conferences 134 (2022): 00153. http://dx.doi.org/10.1051/shsconf/202213400153.

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The purpose of the article is to consider Japanese coloratives as signs of the national code of linguoculture from the point of view of their content-symbolic and modeling aspects of significance. The combination of the basic coloratives of Japanese linguoculture is clarified; their pictorial, expressivepsychological, and aesthetic functions are revealed. It is established that the modeling function orients the attitude to the object of color designation in the aspect of status, prestige, and reverence. Thus, Japanese coloratives form a language system, reflecting the originality of Japanese culture and can be considered as a national code that accumulates a symbolic and simulating function, specifying and defining attitude towards objects, people, situations etc.

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Artículos de revistas sobre el tema "Japanese aesthetic"

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