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Essentials of Japanese Aesthetics

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Submitted By salusingh
Words 1629
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Salu Singh
Independent Study/Phil Requirement of PPE: Aesthetics
Professor Geneviève Gamache
May 10, 2015
Essentials of Japanese Aesthetics
Japanese aesthetics that existed since very long in the history of Japan, had flourished in the larger world as a philosophical discipline "aesthetics" in the nineteenth century (Parkes). West have been admiring Japanese aesthetics for it has "distinctive principles of aesthetic understanding and art appreciation" (Andrijauskas). Japanese art provides "a glimpse into a world often construed as inscrutable and mysterious", which makes it more interesting for the West (Low).Unlike other western disciplines,Japanese aesthetics is not only limited to fine arts. Traditionally, Japanese aesthetics existed in different art forms such as tea garden, tea ceremony, Noh theatre. Today, itis widely practiced in daily activities such as cooking, packaging, behaviors and etiquette (Encyclopedia).As Japanese aesthetics is firmly rooted in everyday life, it is very unique to the world. The ideals and philosophies of Japanese aesthetics are highly influenced by Shinto, Zen Buddhism and China (Walkup). Japanese aesthetics has a wide range of philosophies, which are narrowed down to two main ideas: acknowledging the basic reality of constant change and connecting it to the practices of self-cultivation experienced in daily life (Parkes).

Influence of Shinto, Zen Buddhism and China
Japanese aesthetics understanding is developed by indigenous Japanese religion, Shinto and China. The inspiration of exaltation of nature became an essence to Japanese aesthetics through Shinto (Andrijauskas, 201). Japanese learned to celebrate the beauty of ever changing natural phenomena from mythologies of Shinto, which became an essential component of Japanese aesthetics. According to Shinto, every object has a dynamic spirit, kami,for which it isappreciated(Saito, 3). Japanese aesthetics therefore, is objective and values any natural object for its inherent qualities; no subjective meanings or ideas are put in looking at the object. Japanese not only adopted principles of their own religion but also adopted and adjusted ideas of "Buddhist, Taoist, Confucian, Tantric and Ch'an", which later became "an organic part of syncretistic Zen Buddhist aesthetics" (Andrijauskas, 201).Outside world enriched Japanese aesthetics, which prolonged until today in Japanese culture because of the "celebration and consciousness of nature" (Prusinski, 27).
Zen Buddhism,that was originated in India, was first introduced in Japanthrough China in around twelfth century after Shinto. Zen Buddhism emphasized on "direct, intuitive insight into transcendental truth beyond all intellectual conception" that correlates with the concept of wabi-sabi in Japanese aesthetics (Walkup). Wabi-sabiin Japanese aesthetics emphasizes on practices to be refined that shows the relation between human beings and natural world. It confronts impermanence, as in Buddhism, and embraces things for what they are (Park, 7). Mono no awarebecame principle to Japanese art that disclosed the "heart of things" (Marra, 379). Simplicity and Naturalness were Zen teachings that became common ideals of Japanese (Keene, 301). Acknowledging the reality that everything has its endand celebrating itbecame core to Japanese aesthetics. Japanese were aware that beauty didn’t exist without mortality (Keene, 305). In affiliation with the religion, Zen Buddhism, Japanese aesthetics developed in Heian era put the sophisticated and wealthy elegance of courtly art into more "ritualistic, structured art" (Prusinski, 34).
The concept of Japanese aesthetics is also greatly influenced by Chinese. Japanese aesthetics borrowed many names from different Chinese terms. The Japanese word "Zen" was derived from the Chinese term "CH'an" that meant "reflection, meditation, the concentration of one's consciousness" (Andrijauskas, 210). Zen monks who introduced these ideologies to Japan were closely related to Ch'an monasteries. Chinese philosophy, literature, poetry paintings, and aesthetics were cultivated in Japan with the construction of Zen monasteries by Ch'an adepts (Andrijauskas, 210). Japanese aesthetics specially received the aesthetics of the Chinese artists and poets from Sung dynasty who cherished monochromatic themes (Keene, 297). The traces of monochrome are vivid in suiboku, haiga, zenga and buzinga paintings of Japanese art (Andrijauskas, 211). Japanese gardening style was inspired by the natural gardening style of Chinese, which are further taken into a different level by Japanese principle of irregularity and eccentricity (Keene, 300). Japanese gently adapted the principles of Chinese aesthetics and engraved to the native Japanese aesthetics.
Fundamentals of Japanese Aesthetics
Makato (truth, natural sincerity), aware (enchantment), okashi (charm of playful humor), yugen (mysterious beauty), sabi (veil of antiquity), wabi (restrained beauty), shibui (aristocratic simplicity), en (charm), miyabi (tranquility), hosomi (subtlety, fragility), karumi (lightness), yubi (elegance), sobi (grandeur), and mei (purity, nobility) are the important Japanese aesthetic ideals expressed in "situational categories" (Andrijauskas, 203). Mono no aware meaning "sensitivity to things" or "pathos of things" in literal meaning is the most prominent characteristics of Japanese aesthetics. Mono no aware is "the ability to discern and bring out the unique inner charm of every existing phenomenon or thing, to identify oneself with the object being contemplated, to empathize with its mysterious beauty"(Andrijauskas, 205). Mono no aware is the awareness of bittersweet impermanence of things, and "a gentle melancholy and feeling of loneliness at their passing, the perishable beauties of nature" (Peng). It captures the teachings of Shinto that beauty lies within an object, which requires detailed attention of an observer to experience it. It also correlates with Zen Buddhist notion that the whole experience of beauty of an object is changing for the rule of nature is not static. Mono no aware conveys that"fleeting beauty in an experience cannot be pinned down or denoted by a single moment or image" (Prusinski, 27). It is a process of experiencing the inhabited emotions of an object and adapting with the changing emotions as the nature of object changes according to the situation.
In Japanese aesthetics, this process of experiencing is important for it is the practice of self-cultivation. Self-cultivation means forcing yourself to be able to appreciate the experience of every fleeting moment. Appreciation of every bits and parts of life either it be a formal art or daily activities, builds human relations and respect among each other. Self-cultivation allows one to empathize and share the pain of others in everyday life (Carter, 80). Japanese aesthetics goals for self-cultivation to bring understanding among sentient beings that makes them think and act ethical. The practice of experiencing aesthetics elucidates one's understanding and "realization of one's own authentic nature in a world that was aesthetically, experientially, spiritually, and ethically transformed" (Carter, 78). Japanese aesthetics focuses on forming of the ethical individual with the practice of self-cultivation, which is important.Ittrains mind and body to bring important insights and enlightenment through ideal attitudes and behaviors.
Daily Life Experience
With an end of practicing self-cultivation, aesthetics is abundantly saturated in Japanese culture of daily life. Japanese aesthetics did not remain static throughout the centuries and changed according to the taste and "preferences of social class and education" which is very remarkable and appreciated (Keene, 293). Japanese aesthetics extends from the aesthetic sensibilities found in "creation and appreciation of painting, music and literature" to the daily life experiences like "cooking, swordsmanship, and letter writing, as well as the cultivation of etiquette and moral virtues, and even the execution of ritual suicide" (Saito, 257). "The sensitivity to, respect for, and appreciation of the quintessential character of an object" are important factors that lead towards the practice of Japanese aesthetics in daily life (Saito, 86). In Japan, this aesthetic attention flourishes in various dimensions. In present day Japan, "seasonal haikus are featured daily on the front page of major newspapers; business letters are written with reference to the beauty of the season; food is carefully arranged on a plate specifically chosen to suit the particular food item and the season, both at restaurants and at home; and a gift is wrapped with an appropriate material in a meticulous manner" (Saito, 257).
Japanese aesthetics is a set of ideals, which focuses mainly on appreciating the truth of change and cultivating oneself for the betterment. Japanese aesthetic philosophies previously enriched by other cultures gradually established it with distinct ideologies, which is remarkably appreciated by the world. A closer relation with the nature and the appreciation of every details of that nature makes Japanese aesthetics very unique and sophisticated. The Japanese practice of experiencing aesthetics in daily life activities in order to build self-cultivation is more intriguing.

Works Cited
Andrijauskas, Antanas. "Specific Features of Traditional Japanese Medieval Aesthetics."Dialogue and Universalism, 1.2 (2003): 109-220. Web. 7 May 2015.
Carter, Robert E. "The Japanese Arts and Self-Cultivation". New York: State University of New York, 2008. Google Books.Web. 9 May 2015.
Japanese Aesthetics.Oxford Art Online.Encyclopedia of Aesthetics.Web. 30 April 2015.
Keene, Donald. "Japanese Aesthetics."Philosophy East and West, 19.3 (1969): 293-306. Web. 2 April 2015.
Low, Sor C. "Reviewed Work: The Japanese Arts and Self-Cultivation." Philosophy East and West, 60.1 (2010): 123-125. Jstor.Web. 1 May 2015.
Marra, Michele. "Japanese Aesthetics: The Contraction of Meaning." Philosophy East and West, 45.3 (1195): 367-386. Web. 2 April 2015.
Parkes, Graham, "Japanese Aesthetics", The Stanford Encyclopedia of Philosophy (Winter 2011 Edition), Edward N. Zalta (ed.). Web. 2 May 2015.
Peng, Milly. "Mono no Aware, Aesthetics of Sensitivity to Transience." University of Otago Literary Society Student Zine, 2 (2013).Web. 2 May 2015.
Prusinski, Lauren. "Wabi-Sabi, Mono no Aware, and Ma: Tracing Traditional Japanese Aesthetics Through Japanese History." Studies on Asia, 2.1 (2012): 25-49. Web. 5 May 2015.
Saito, Yuriko. "Japanese Aesthetics of Packaging."The Journal of Aesthetics and Art Criticism, 57.2 (1999):257-265. Jstor.Web. 23 April 2015.
Saito, Yuriko. "The Moral Dimension of Japanese Aesthetics."Global Theories of the Arts and Aesthetics: 85-97. Web. 2 April 2015.
Walkup, Nancy."Japanese Aesthetics, Wabi-Sabi, and the Tea Ceremony" North Texas Institute for Educators on the Visual Arts.Web. 5 May 2015.

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