The Japanese arts (dō) provide a rigorous, ritual-like set of structures which involve moral and aesthetic training, as well as providing techniques for body-mind synchronization (constituting as such: meditation-in-action). The article explores the links between the Japanese arts and Zen Buddhist ideals (particularly Sōtō Zen) of enlightenment being nothing other than the consistent practice of one's art. Japanese archery (kyudō) will be highlighted to illustrate this, as will the Japanese lifelong learning philosophy (shugyō). The article concludes (...) by bringing into contrast two very different notions of what spiritual development consists in, one of which is highly conservative with respect to its traditions (per the Japanese arts), and the other which explicitly characterizes spiritual development as a process of renewing one's tradition as one practices it (per Margaret Masterman and Richard Sennett). It is suggested that, for better or worse, maintaining the extreme purity of one's practices is unrealistic in today's profoundly interconnected world. (shrink)

What makes Japanese art unique? In The Japanese Sense of Beauty, art critic and historian Takashina Shūji reflects on the aesthetic and philosophical sensibilities underlying Japanese art throughout its history, from the earliest calligraphy and painted screens to modern masters like Hishida Shunso and Yokoyama Taikan. Along the way, Takashina explores themes such as the relationship between subjective perspective and "flat" composition and the playful intermingling of word and image throughout the plastic arts of Japan. He also (...) offers fresh critical perspectives on many individual artists, including Takeuchi Seihō, one of the first to fuse traditional techniques with Western realism, and Takahashi Yuichi, who combined a vivid mastery of texture with deceptively traditionalist compositions. Other essays in this wide-ranging collection touch on everything from the symbolism of Mount Fuji to the ancient music known as gagaku, showing how even the most disparate topics can shed new light on what is essential to Japanese culture. The Japanese Sense of Beauty is an important contribution to the study of aesthetics and cultural history, offering insights that will change the way you think about Japanese art." -- Publisher's description. (shrink)

L’exposition d’art dans des paysages est devenu populaire au Japon, avec la multiplication récente de festivals d’art locaux. Dans ces festivals, qui attirent chacun des centaines de milliers de visiteurs, coexistent des œuvres hétérogènes. Certaines sont des sculptures autonomes, d’autres des installations qui se fondent dans le paysage, et d’autres encore sont des œuvres de type « art relationnel ». Bien que ces œuvres in situ affirment leur lien essentiel avec le site naturel rural et avec le corps du spectateur (...) — constituant un événement, une expérience, une rencontre éphémère —, les relations avec le site comme avec le visiteur sont complexes et ambigües. Il y a des œuvres in situ, mais parfois aussi in aliquo situ : des œuvres qui peuvent être installées n’importe où. Qu’est-ce qui attire les visiteurs dans ces expositions? Quels sont donc la nature et le mérite de leur localisation? Si les visiteurs apprécient de voir des œuvres dans ces paysages cela peut être en partie lié au principe japonais traditionnel d’expérience des lieux dit meisho-meguri, ou « pèlerinage vers des sites célèbres ». Cette pratique issue du Moyen Âge est associée historiquement au sacré. Aujourd’hui ce pèlerinage prend la forme du tourisme moderne mais conserve un sens traditionnel invisible car les visiteurs se déplacent à travers une série de lieux géographiques selon un jeu culturellement codé. Selon nous, dans le cas des visites d’œuvres d’art en zones rurales, l’appréciation des œuvres d’art participe à ce même jeu traditionnel de se déplacer physiquement dans une série de lieux. Cette dimension spirituelle implicite modifie à son tour la perception des œuvres. Ainsi on dira que la pratique japonaise de visiter ces expositions d’art in situ témoigne de la survivance d’une tradition, et constitue ainsi un système alternatif d’expérience esthétique. The installations of artwork in natural landscapes have become popular in Japan with the recent increase in local art festivals. In these art festivals where hundreds of thousands of visitors gather, heterogeneous installations coexist; some are autonomous sculptures, some are fused into the natural landscape, and some belong to “relational art”. Although most works assert the essential quality of their location, and the experience as “an event”, their relationships to the rural areas and to the body of the visitor are complex and ambiguous. Some works are really in situ, but some are in aliquo situ—that is, works that could be installed anywhere. What attracts visitors to these exhibitions? Hence what is the nature and merit of the location? What is the relation to the visitor’s bodily presence? If visitors enjoy the site-specificity of the artwork this may be linked to the traditional Japanese system of experiencing places as meisho-meguri—i.e. “a pilgrimage to a series of famous sites”. This practice comes from the Middle Ages and was by then spiritual. While today these pilgrimages appear as a form of modern tourism, they retain a culturally coded character because visitors’s journey is like “a game of visiting a series of geographical places”. According to me, in the case of the visit of artistic sites, the appreciation of the artwork participates in this same game of bodily displacement to a series of places. This implicit spiritual underpinning conversely modifies the visitor’s perception of the works. Thus I propose that visiting artistic sites in natural settings in Japan appears as informed by this Japanese particular tradition, and thus constitutes an alternative system of contemporary aesthetic experience. (shrink)

Far Eastern calligraphy has always been regarded by the Occident as an “esoteric” issue, laden with a peculiar “mysticism,” which presents spiritual and philosophical aspects too outlandish to truly comprehend. That is probably the reason why calligraphy was amongst the last artistic “disciplines” to gain access to the international world of the arts. This study focuses on Japanese calligraphy as a visual and verbal image, conducting a hermeneutic investigation into the nature and function of this type of image, into (...) the value and significance of this way of representing the sacred in accordance with Japanese spirituality. Undertaking an unusual exploration, this research draws together the symbolism of calligraphic art and that of Byzantine icons, looking for similarities and differences between them, seeing them as intuitive gateways to the mysteries of the universe, to revelations of an ontologically superior nature. (shrink)

This study examines the specifics of the theme of the anti-Japanese war in Chinese art at various stages from the 1930s to the beginning of the XXI century. The key works of graphic artists and painters are selected as the material, which mark the key points of the evolution of the topic under consideration. Images in Chinese art associated with the events of the anti-Japanese War or the "War of Resistance" have been created by artists for more than (...) seven decades, changing and transforming in accordance with political, ideological, socio-cultural and artistic-stylistic factors. This topic is extremely important for the people, since it was she who gave the art of the newly born New China in the XX century a historical dimension, determined the measure of responsibility of Chinese artists to society and partly the aesthetic paradigm of the evolution of the arts. Moreover, it has served and continues to serve as a source of inspiration for new generations of masters of historical painting, especially battle artists. As a result of the analysis and generalization, four stages are distinguished. The first one is connected with the work of wartime graphs, which recorded the most important moments of the confrontation between the two armies and peoples, determining the general realistic orientation in the development of the theme and its iconography. The middle of the century is the time of the establishment of images associated with the anti-Japanese war as the main line in Chinese painting, the appearance of multi-figure subject canvases, including in the battle genre. The last third of the XX century is defined as the period of transition from the glorification of events to the embodiment of the understanding of that war as a national tragedy, as well as the enrichment of romanticized realism with new artistic forms. At the beginning of the new century, artists tended to create large-scale canvases, saturating them with complex symbolic meanings and details. Such changes indicate the continuation of the evolution of the topic under study and its further transformations. (shrink)

Nature and time have long been key concepts of educational thought. Educational thinkers from both the East and the West have tried to imitate and follow nature. They have also considered time in relation to human formation and growth. This article attempts to connect these two key concepts of education through the medium of the seasons. The seasons bridge both time and nature. Our experience of nature is temporal and manifests itself in the transition of the seasons. On the other (...) hand, our experience of time is conditioned by the seasons. Seasons are a concrete manifestation of time and nature. It seems that philosophy has not paid enough attention to this. In this article, Japanese arts are used as the examples of how the arts can help to form our sensibility toward the seasons, which has ethical and educational implications. The article also asks questions about contemporary environmental discussions that, in the aspiration to be global and universal, often overlook concrete experience of the seasons conditioned by local climate. (shrink)

Dominic McIver Lopes and Yuriko Saito claim that the Japanese tea ceremony, or chadō, is a non‐Western art form. Stephen Davies also defends that claim. In this article, I utilize the tea ceremony as a test case for pancultural definitions of art that claim to be inclusive of non‐Western cultures without relying on Western ethnocentrism to justify their status as artworks. I argue that Davies's (2015) hybrid definition is not justified in assuming a homogenous art tradition and/or a unified (...) conception of artistic practices in a non‐Western culture. Moreover, the cladistic structure of his definition fails to accommodate the spontaneous instantiation of new art traditions. Additionally, Jerrold Levinson's Intentional‐Historical definition cannot satisfactorily accommodate chadō. First, the nonart origins that were formative for the regard that is required for appreciation of the tea ceremony mean that the relational interpretation of the definition fails. Second, Rikyū’s tea ceremony does not count as art incidentally, as it is not a form of mimesis nor does the Japanese wabi aesthetic that is central to chadō have a precursor in known Western art. Third, if chadō does satisfy Levinson's extended theory, it comes at the cost of embracing Western ethnocentrism. (shrink)

The paper addresses the question of why there is no treatise on Japanese gardens in Arthur Schopenhauer's system. First, it is explained that the system philosophy of the 18th and 19th centuries aimed at completeness in conceptual representation. Schopenhauer therefore treats the national characteristics of the garden arts in Europe and Asia, among many other arts, and conceptually determines their similarities and differences. Due to the isolation of Japan, however, Schopenhauer had no knowledge of Japanese gardens. The last (...) part of the paper argues that Japanese gardens would have fitted well into Schopenhauer's system, as the Rock Garden, Pond Garden, Moss Garden etc. correspond well with the ideas that ground Schopenhauer's aesthetics. ###Extended and translated version of the paper "Der japanische Garten im System Schopenhauers" (2021).###. (shrink)

What is culture? What can we learn from art, architecture, and fashion about how people relate? Can cultures embody ethical and moral ideals? These are just some of the questions addressed in this book on the cultural philosophy of three preeminent Japanese philosophers of the early twentieth century, Nishida Kitarō, Watsuji Tetsurō and Kuki Shūzō.

This special issue explores the significance of collectivism in modern and contemporary Japanese art. Japanese artists banded together throughout the twentieth century to work in collectives, reflecting and influencing each evolution of their culture. Illuminating the interplay between individual and community throughout Japan’s tumultuous century, the contributors to this issue examine both the practical internal operations of the collectives and the art that they produced. One contributor studies the art societies of prewar imperial Japan, whose juried art salons (...) defined a new _nihonga_ painting tradition. While recent scholarly work on art produced during World War II has tended to neglect the collectivist tradition, this issue covers wartime groups like the Art Unit for Promoting the Munitions Industry and the important questions they pose about the relationship between artists and the state. Art collectives in post-occupation Japan gained prominence working in the experimental vanguard of the global art scene in painting, sculpture, design, and intermedia projects. Adding a crucial dimension to the study of Japanese art and modernism, this issue explores how these groups attempted to accommodate the creative paradox of individualism within collectivism. _Contributors: Maki Kaneko, Kuroda Raiji, John Szostak, Miwako Tezuka, Ming Tiampo, Reiko Tomii, Alicia Volk, Midori Yoshimoto Reiko Tomii_ is an independent art historian and curator in New York. She is coauthor of _Xu Bing_. _Midori Yoshimoto_ is Associate Professor of Art History and curator of two galleries at New Jersey City University. She is the author of _Into Performance: Japanese Women Artists in New York_. (shrink)

At the core of Félix Guattari’s ethico-aesthetic paradigm is a conception of subjectivity that somehow relies upon the notion of animism. Even though this apparently Romantic return to animism may seem vague and perhaps even naive, it forms the very framework that Guattari asks us to pass through, at least provisionally, in order to fully grasp his last project. I will therefore attempt to demystify this important concept theoretically before showing how the aesthetic machines of Japanese contemporary art – (...) and more specifically, the conceptual art of Yoko Ono – stage one key aspect of Guattari’s animism: machinic heterogenesis. Guattari travelled to Japan many times in the years leading up to the publication of Chaosmosis and Japanese contemporary art allowed him to bolster some of its theoretical claims with concrete examples. I will argue that it is through the lens of Japanese contemporary art that Guattari’s ethico-aesthetic paradigm might propel us beyond the old-guard strategies of modernism. Just as we are asked to pass through a certain notion of animism to understand the relational onto-logic of Chaosmosis, Japanese contemporary art itself demands a similar conceptual framework in order to be disappropriated from an all-too-Western canon. To this end, I supplement Guattari’s work with speculative readings of Japanese philosophy. (shrink)

Japanese Hermeneutics provides a forum for the most current international debates on the role played by interpretative models in the articulation of cultural discourses on Japan. It presents the thinking of esteemed Western philosophers, aestheticians, and art and literary historians, and introduces to English-reading audiences some of Japan's most distinguished scholars, whose work has received limited or no exposure in the United States. In the first part, "Hermeneutics and Japan," contributors examine the difficulties inherent in articulating "otherness" without falling (...) into the trap of essentialization and while relying on Western epistemology for explanation and interpretation. In the second part, "Japan's Aesthetic Hermeneutics," they explore the role of aesthetics in shaping discourses on art and nature in Japan. The essays in the final section of the book, "Japan's Literary Hermeneutics," rethink the notion of "Japanese literature" in light of recent findings on the ideological implications of canon formations and transformations within Japan's prominent literary circles. Contributors: Amagasaki Akira, Haga Toru, Hamashita Masahiro, Inaga Shigemi, Kambayashi Tsunemichi, Thomas LaMarre, John C. Maraldo, Michael F. Marra, Mark Meli, Ohashi Ryosuke, Otabe Tanehisa, Graham Parkes, J. Thomas Rimer, Sasaki Ken'ichi, Haruo Shirane, Suzuki Sadami, Stefan Tanaka, Gianni Vattimo. (shrink)

Annotation This is the first work in English on the history of the Japanese philosophy of art, from its inception in the 1870s to the present.

Probably very few people today would believe that, prior to Japan's modernization during the Meiji period, the Japanese were not able to run. It seems commonsensical that human beings should be able to perform the same body movements such as running—since, of course, we are human beings regardless of whether we live in modern countries. However, it appears, in fact, that people in the Edo Period did not run in the sense of how we run today. There was no (...) need, for example, for farmers to run in the midst of their daily agricultural activities.In addition, it has been also pointed out that, although some premodern Japanese, such as samurai or official messengers... (shrink)

Challenging clich's of Japanism as a feminine taste, Bachelor Japanists argues that Japanese aesthetics were central to contests over the meanings of masculinity in the West. Christopher Reed draws attention to the queerness of Japanist communities of writers, collectors, curators, and artists in the tumultuous century between the 1860s and the 1960s. Reed combines extensive archival research; analysis of art, architecture, and literature; the insights of queer theory; and an appreciation of irony to explore the East-West encounter through three (...) revealing artistic milieus: the Goncourt brothers and other japonistes of late-nineteenth-century Paris; collectors and curators in turn-of-the-century Boston; and the mid-twentieth-century circles of artists associated with Seattle's Mark Tobey. The result is a groundbreaking integration of well-known and forgotten episodes and personalities that illuminates how Japanese aesthetics were used to challenge Western gender conventions. These disruptive effects are sustained in Reed's analysis, which undermines conventional scholarly investments in the heroism of avant-garde accomplishment and ideals of cultural authenticity. (shrink)

Comparative environmental philosophy is valuable in many ways. Perhaps it is most valuable because it reveals some of the foundational assumptions that run so deep in the poles of comparison that they might otherwise have gone unnoticed. These revelations may invite us to challenge those assumptions that have led to the kind of thinking responsible for much of the environmental degradation that we see today. Japanese Environmental Philosophy gathers papers focused on the environmental problems of the twenty-first century. Drawing (...) from Japanese philosophical traditions they investigate our relationships with other humans, nonhuman animals, and the environment. The heart of the book consists of chapters written by fifteen top scholars from Japan, the United States, Europe, and Australia. The essays cover a broad range of topics drawn from various strains of Japanese thought—including Zen Buddhism, Shintoism, the Kyoto school, and Japanese philosophy of art and aesthetics—as well as from traditional Japanese culture and the contemporary science of planning for natural disasters. These articles demonstrate that Japanese scientific, philosophical, religious, and cultural traditions can provide meaningful insight to address the current global environmental crisis. (shrink)

The paper deals with the tales on the origins of Japanese Buddhism from the 11th scroll of the Konjaku monogatari shū. Particular attention is paid to the stories about Saichō and Kūkai, the founders of the Tendai and Shingon schools, thinkers, whose writings have built two versions of the doctrine of the Buddhist ritual aimed at “state protection” and “benefits in this world.” From the elements familiar to the Western reader – “lives, opinions and sayings,” according to Laertius, – (...) in these stories the first one dominates. Brief information about the doctrines of the famous teachers in Konjaku is embedded in the narrative about their practical activities. The objectives of this activity are, firstly, to adopt in China and root in Japan the Chinese traditions of Buddhist practice, which go back to the Indian models; secondly, to arrange monasteries and monastic orders best suited to serve the country and its inhabitants. The legends about Saichō and Kūkai in Konjaku are placed in context of the narratives about the builders of temples and about the monks who visited the mainland in search of Buddha’s Teaching. This context helps to understand the principle of selecting biographical details for each of the sages in Konjaku. The themes of a wonderful birth and early learning successes are common in these stories; the theme of appeasement of kami deities or the treaty with them also sounds in many of these stories. In the legends about Kukai and Saichō, the themes of the arts in its Buddhist meaning and the separation of the school within the Buddhist community are also important: according to the plan of their founders, the “secret” schools, preaching enlightenment for all, follow their own special path of practice. (shrink)

Pamela D. Winfield offers a fascinating juxtaposition and comparison of the thoughts of two pre-modern Japanese Buddhist masters, Kukai (774-835) and Dogen (1200-1253) on the role of imagery in the enlightenment experience.

This collection begins with an engaging historical overview of Japanese aesthetics and offers contemporary multidisciplinary and interdisciplinary perspectives on the artistic and aesthetic traditions of Japan and the central themes in Japanese art and aesthetics.

This collection of essays constitutes the first history of modern Japanese aesthetics in any language. It introduces readers through lucid and readable translations to works on the philosophy of art written by major Japanese thinkers from the late nineteenth century to the present. Selected from a variety of sources (monographs, journals, catalogues), the essays cover topics related to the study of beauty in art and nature. The translations are organized into four parts. The first, "The Introduction of Aesthetics," (...) traces the formation of notions of "beauty," "culture," and "art" in Japan. It includes discussion of the creation of the museum in Japan and the frenetic efforts of Nishi Amane, Okakura Tenshin, Ernest Fenollosa, and Mori Ogai to introduce German, British, and French aesthetic thought to the Japanese. This is followed by three sections that examine the transformation of the aesthetic field into an academic discipline that flourished at three major Japanese universities. "Aesthetics at Waseda University" begins with an essay on the spiritualism and idealism of Onishi Hajime and continues with essays on the impact of German Lebensphilosophie ("philosophy of life") on Shimamura Hogetsu and Takayama Chogyu, and work by the major Waseda aesthetician of the twentieth century, Aizu Yaichi. Thinkers of the Tokyo School adopted a "scientific" method in the study of art theory. Part 3, "Aesthetics at the University of Tokyo," focuses on the ideas of Otsuka Yasuji (holder of the world’s first Chair of Aesthetics), Onishi Yoshinori, Watsuji Tetsuro, Abe Jiro, Takeuchi Toshio, and Imamichi Tomonobu. The section concludes with a look at the contemporary philosopher Sakabe Megumi. The last section, "Aesthetics at the University of Kyoto," includes essays on Nakagawa Shigeki and Fukada Yasukazu, pioneers in the field of aesthetics, and on the philosophy of art of the "Kyoto School," which was deeply inspired by the thought of Nishida Kitaro. Finally the work of Kuki Shuzo, an influential teacher of Western philosophy at the University of Kyoto, is examined. A History of Modern Japanese Aesthetics is a companion volume to Modern Japanese Aesthetics: A Reader (UH Press, 1999). (shrink)

The essence of Japanese art lies in the peculiar character of the people and the influence of "life-affirming" Zen. Painting, poetry, and even the tea ceremony are "ways" to the Absolute Nothing. The aesthetic qualities of Japanese art are "limitlessness," "unfinishedness," and naturalness.--A. B.

Art versus nature, the literary work and the author, the literary work and the reader, structure and style, and the purpose of literature are the main subjects treated in a study of eight leading writers of modern Japan.

This essay focuses on a point in Henri Focillon's interpretation of the aesthetics of Japanese art. Focillon fastens very precisely on a deep difference which exists in the understanding of the idea of aesthetic contemplation in the Western and Eastern traditions. Western traditional analyses of contemplation presuppose and embody assumptions about the ontologicalultimacy of individuals that are absent from Eastern traditions in which the ultimate is conceived of as nothingness. In particular, the idea that the absolute is fully manifested (...) in each phenomenal individual is absent from Western aesthetics. Focillon grasped this, and his views are contrasted with those of Bergson, and confirmed by those of the eminent Japanese philosopher Nishida Kitaro, who was his contemporary. (shrink)

Zen and Japanese Culture is one of the twentieth century's leading works on Zen, and a valuable source for those wishing to understand its concepts in the context of Japanese life and art. In simple, often poetic, language, Daisetz Suzuki describes his conception of Zen and its historical evolution. He connects Zen to the philosophy of the samurai, and subtly portrays the relationship between Zen and swordsmanship, haiku, tea ceremonies, and the Japanese love of nature. Suzuki's contemplative (...) work is enhanced by anecdotes, poetry, and illustrations showing silk screens, calligraphy, and examples of architecture. Since its original publication in 1938, this important work has played a major role in shaping conceptions of Zen's influence on Japanese traditional arts. Richard Jaffe's introduction acquaints a new generation of readers with Suzuki's life and career in both Japan and America. Jaffe discusses how Zen and Japanese Culture was received upon its first publication and analyzes the book in light of contemporary criticism, especially by scholars of Japanese Buddhism. (shrink)

The tenth volume of the Frontiers of Japanese Philosophy focuses on the theme of “transition,” dealing with transitory and intermediary phenomena and practices such as translation, transmission, and transformation. Written in English, German and Japanese, the contributions explore a wide range of topics, crossing disciplinary borders between phenomenology, linguistics, feminism, epistemology, aesthetics, political history, martial arts, spiritual practice and anthropology, and bringing Japanese philosophy into cross-cultural dialogue with other philosophical traditions. As exercises in “thinking in transition,” the (...) essays reveal novel modes of doing philosophy as a way of boundary crossing that takes transition not only as an object of inquiry, but also as a method of philosophical practice itself. (shrink)

Enfolding Silence is a rare gem for exploring the aesthetic dimensions of epistemology and meaning-making through the arts in the context of historic communal injury. Author Brett Esaki invites his audience to consider how Japanese Americans have developed various art forms to cope with, resist, and transform traumatic experiences of racism, including the mass, unlawful internment of nearly 120,000 people of Japanese descent during World War II. By examining an extended ethnographic case study, educators and students can reflect (...) on how a community teaches aesthetically across generations, as one generation traumatized by racism teaches what matters culturally, aesthetically, and spiritually to the next. Esaki is... (shrink)

The Japanese martial arts are suggested to the West, and to the Japanese themselves as `old'. They are less old than the suggestion and are, indeed, part of an attempt to make the Japanese suitably `samurai', in the first instance, so that an export of an image can take place in the second instance. Under outer shells and forms, however, something spiritual is indeed old, but people - Japanese and non-Japanese alike - have tended within (...) modernity to reify the shells and forms. (shrink)

This collection begins with an engaging historical overview of Japanese aesthetics and offers contemporary multidisciplinary and interdisciplinary perspectives on the artistic and aesthetic traditions of Japan and the central themes in Japanese art and aesthetics.

This book examines Whitehead’s process aesthetics focusing on two categories, the penumbral beauty of darkness and the tragic beauty of perishability, while establishing parallels with the Japanese sense of evanescent beauty. It clarifies how both traditions develop a religio-aesthetic vision of tragic beauty and its reconciliation in the supreme ecstasy of peace.