New Essays In Japanese Aesthetics

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 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.

Sure to be a classic, Donald Richie's concise, profound insights into the mysteries of Japanese

Essays on Japan is a compilation of Professor Michael F. Marra’s essays written in the past ten years on the topics of Japanese literature, Japanese aesthetics, and the space between the two subjects.

"Some of the essays provide a general introduction to the basic theories of Japanese aesthetics, others deal with poetry and theater, and a third group discusses cultural phenomena directly related to classic Japanese literature.

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).

Modern Japanese Aesthetics is the first work in English on the history of the Japanese philosophy of art, from its inception in the 1870s to the present. In addition to the historical information and discussion of aesthetic issues that appear in the introductions to each of the chapters, the book presents English translations of otherwise inaccessible major works on Japanese aesthetics, beginning with a complete and annotated translation of the first work in the field, Nishi Amane's Bimyogaku Setsu (The Theory of Aesthetics). In its four sections (The Subject of Aesthetics, Aesthetic Categories, Poetic Expression, Postmodernism and Aesthetics), Modern Japanese Aesthetics discusses the momentous efforts made by Japanese thinkers to master, assimilate, and transform Western philosophical systems to discuss their own literary and artistic heritage. Readers are introduced to debates between the unconditional supporters of Western ideas (Onishi Hajime) and more cautious approaches to the literary and artistic past (Okakura Kakuzo, Tsubouchi Shoyo). The institutionalization of aesthetics as an academic subject is discussed and the work of some of Japan's most distinguished professional aestheticians (Onishi Yoshimori, Imamichi Tomonobu), philosophers (Kusanagi Masao, Nishitani Keiji, Sakabe Megumi), and literary critics (Karatani Kojin) is included. Modern Japanese Aesthetics is a sophisticated and energetic volume on the process that led to the construction of aesthetic categories used by Japanese and, later, Western scholars in discussing Japanese literature and arts. This important work will be essential reading for anyone concerned with the formation of a critical vocabulary in Japan. Modern Japanese Aesthetics: A Reader is a companion volume to A History of Modern Japanese Aesthetics (UH Press, 2001).

"In Praise of Shadows" (陰翳礼讃, "In'ei Raisan" in Japanese) is an essay written by the renowned Japanese author Jun'ichirō Tanizaki. It was first published in 1933. The essay explores Tanizaki's aesthetic philosophy, particularly his appreciation for traditional Japanese culture and the beauty of shadows, darkness, and subtlety. Tanizaki reflects on the contrast between Western and Japanese aesthetics, emphasizing the preference for darkness and shadows in traditional Japanese architecture, interior design, and cultural practices. He celebrates the aesthetic qualities of dimly lit spaces, muted colors, and natural materials, arguing that they evoke a sense of mystery, depth, and tranquility that is lacking in the bright, artificial illumination favored in the West. Throughout the essay, Tanizaki discusses various aspects of Japanese culture, such as the tea ceremony, lacquerware, architecture, and literature, to illustrate his points about the beauty of shadows and the importance of preserving traditional craftsmanship and sensibilities in the face of modernization. "In Praise of Shadows" is not only a meditation on aesthetics but also a reflection on the cultural identity and values of Japan. It has been widely praised for its eloquent prose, thought-provoking ideas, and insightful observations about the interplay between light and shadow in shaping human perception and experience. The essay continues to be studied and admired for its enduring relevance and its exploration of the timeless qualities of beauty and elegance.