Japanese aesthetics
Japanese aesthetics
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日本美学
DOI：
10.2307/1397586
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发表时间：
2010
期刊：
影响因子：
--
通讯作者：
D. Keene
中科院分区：
文献类型：
--
作者：
D. Keene
尽管日本人几个世纪以来一直在创作伟大的艺术并对其进行书写，其中包括可追溯到千年的丰富的诗学传统，但日本与西方“美学”相对应的哲学学科直到十九世纪才开始出现。考察更广泛领域的一个好方法是考察传统过程中出现的最重要的美学思想，所有这些思想都在美学正式确立为一门学科之前：即“物之悲情”、“侘”（柔和、朴素的美）、“sabi”（质朴的铜绿）、“yūgen”（神秘的深度）、“iki”（精致的风格）和“kire”（切割）。 （最后一个术语发音为两个均匀重音的音节，kee-reh。某些元音上的长音表示双倍长度的元音。使用人名时，顺序是传统的日语顺序：姓氏，然后是名字。）
Although the Japanese have been producing great art and writing about it for many centuries, including a rich tradition of poetics going back a millennium, the philosophical discipline in Japan corresponding to Western “aesthetics” did not get underway until the nineteenth century. A good way to survey the broader field is to examine the most important aesthetic ideas that have arisen in the course of the tradition, all of them before aesthetics was formally established as a discipline: namely, mono no aware (the pathos of things), wabi (subdued, austere beauty), sabi (rustic patina), yūgen (mysterious profundity), iki (refined style), and kire (cutting). (This last term is pronounced as two evenly accented syllables, kee-reh. The macrons over some vowels signify a vowel sound of double length. When a person name is used, the order is the conventional Japanese one: family name, then given name.)