Aesthetic Japanese Quotes

Do you like my working persona?" Saiman asked softly. "An aesthetically pleasing combination of intelligence and elegance, wouldn't you say?" Aren't we pleased with ourselves. "Are you Chinese, Japanese, half-white? I can't tell, your features are neither here nor there." "I'm inscrutable, mysterious and intellectual." He forgot conceited. "Did you have any trouble getting that ego through the door?" Saiman didn't even blink. "Not in the least.

We Orientals tend to seek our satisfactions in whatever surroundings we happen to find ourselves, to content ourselves with things as they are; and so darkness causes us no discontent, we resign ourselves to it as inevitable. If light is scarce, then light is scarce; we will immerse ourselves in the darkness and there discover its own particular beauty. But the progressive Westerner is determined always to better his lot. From candle to oil lamp, oil lamp to gaslight, gaslight to electric light—his quest for a brighter light never ceases, he spares no pains to eradicate even the minutest shadow.

Much has been said of the aesthetic values of chanoyu- the love of the subdued and austere- most commonly characterized by the term, wabi. Wabi originally suggested an atmosphere of desolation, both in the sense of solitariness and in the sense of the poverty of things. In the long history of various Japanese arts, the sense of wabi gradually came to take on a positive meaning to be recognized for its profound religious sense. ...the related term, sabi,... It was mid-winter, and the water's surface was covered with the withered leaves of the of the lotuses. Suddenly I realized that the flowers had not simply dried up, but that they embodied, in their decomposition, the fullness of life that would emerge again in their natural beauty.

Poverty and loneliness could be seen as a liberation from strivings to become rich and popular.

There is an expression in Japanese that says that someone who makes things of poor quality is in fact worse than a thief because he doesn't make things that will last or provide true satisfaction. A thief at least redistributes the wealth of a society.

The most precious thing in life is its uncertainty.

I wonder if my readers know the colour of that "darkness seen by candlelight." It was different in quality from darkness on the road at night. It was a repletion, a pregnancy of tiny particles like fine ashes, each particle luminous as a rainbow.

Depending on one’s point of view, Hagakure represents a mystical beauty intrinsic to the Japanese aesthetic experience, and a stoic but profound appreciation of the meaning of life and death.

Here is perhaps the most delicious turn that comes out of thinking about politics from the standpoint of place: anyone of any race, language, religion, or origin is welcome, as long as they live well on the land. The great Central Valley region does not prefer English over Spanish or Japanese or Hmong. If it had any preferences at all, it might best like the languages it has heard for thousands of years, such as Maidu or Miwok, simply because it is used to them. Mythically speaking, it will welcome whomever chooses to observe the etiquette, express the gratitude, grasp the tools, and learn the songs that it takes to live there.

These Taoists' ideas have greatly influenced all our theories of action, even to those of fencing and wrestling. Jiu-jitsu, the Japanese art of self-defence, owes its name to a passage in the Tao-teking. In jiu-jitsu one seeks to draw out and exhaust the enemy's strength by non-resistance, vacuum, while conserving one's own strength for victory in the final struggle. In art the importance of the same principle is illustrated by the value of suggestion. In leaving something unsaid the beholder is given a chance to complete the idea and thus a great masterpiece irresistibly rivets your attention until you seem to become actually a part of it. A vacuum is there for you to enter and fill up the full measure of your aesthetic emotion.

Zen is what remains when words and ideas run out. · What we see and smell and hear is real, it reminds us; what we think about that is not. · In much the same spirit, the Japanese aesthetic is less about accumulation than subtraction, so that whatever remains is everything.

In Japanese pottery, there’s an artful form of repair called kintsugi. When a piece of ceramic pottery breaks, rather than trying to restore it to its original condition, the artisan accentuates the fault by using gold to fill the crack. This beautifully draws attention to where the work was broken, creating a golden vein. Instead of the flaw diminishing the work, it becomes a focal point, an area of both physical and aesthetic strength. The scar also tells the story of the piece, chronicling its past experience.

Here we would notice that what we would call Japanese aesthetics (in contrast to Western aesthetics) is more concerned with process than with product, with the actual construction of a self than with self-expression. The

Cruise through the gargantuan sites—YouTube, Amazon, Yahoo!—and it’s as though modernism never existed. Twentieth-century print design never existed. European and Japanese design never existed. The Web’s aesthetic might be called late-stage Atlantic City or early-stage Mall of America.

Do you remember my friend Fumiko Kobayashi? She loaned me a book by a university professor named Taki Sugiyama Lebra, Japanese Patterns of Behaviour, and she writes that death, particularly voluntary death, is surrounded in this country by a heroic, romantic, aesthetic and emotional aura. She says we often find it hard to communicate and use suicide to make our ideas, or beliefs, or sufferings known. I don't know whether I believe that or not.

I think that the essence of the tea ceremony lies in how sincere you are toward your guests. Human life is a fragile thing. We may be alive and kicking right now, but we could die at any moment. That's why you have to put your heart and soul into the way you treat your guests, and conduct yourself as if it's the last time you'll ever see them. The tea ceremony is a practice through which you show your consideration to others. The manners and utensils are all part of that. That's why I think people who brag about how expensive their utensils are, or who take pride in the fact that they know the right manners, do not understand the spirit of the tea ceremony. Putting your heart and soul into it means you must get rid of all vanity. And that's why the governing aesthetic of the tea ceremony is to get rid of what's non-essential, in order to pursue the essence of things.

In the Japanese vision of winter, in Japanese poetry, and Japanese prints have an imagery of the “floating world,” where there is no notion that winter has in any way fallen from the hand of God, or is in any way evidence of cosmic organization. The Japanese idea of winter simply speaks of winter as simultaneously empty and full; the emptying out of nature by cold, and it’s also the filling up of the world by wind and snow… the Japanese idea of winter marked the final transformation of winter, and the idea of winter in Europe in the nineteenth century…Monet gets from the Japanese wood block prints a new infatuation with pure white-not a white that’s laid down unvaryingly with a single brushstroke, but instead a white that is made up kaleidoscopically with tiny touches of prismatic color. This is sweet winter at its sweetest, a winter so sweet that it loses the tang of the picturesque and becomes entirely exquisite- not pretty but deeply, renewingly lovely…winter becomes another kind of spring, a spring for aesthetes who find April’s green too common, but providing the same emotional lift of hope, the same pleasure of serene, unfolding slowness; the slow weight of frost, the chromatic varnishing of snow on the boughs of the chestnut tree, the still dawn scene, the semi-frozen river.

It may be cheap, but it should also be sturdy. What must be avoided at all costs is dishonest, distorted and ornate work. What must be sought is the natural, direct, simple, sturdy and safe. Confining beauty to visual appreciation and excluding the beauty of practical objects has proven to be a grave error on the part of modern man. A true appreciation of beauty cannot be fostered by ignoring practical handicrafts. After all, there is no greater opportunity for appreciating beauty than through its use in our daily lives, no greater opportunity for coming into direct contact with the beautiful. It was the tea masters who first recognized this fact. Their profound aesthetic insight came as a result of their experience with utilitarian objects. If life and beauty are treated as belonging to different realms, our aesthetic sensibilities will gradually wither and decline. It is said that someone living in proximity to a flowering garden grows insensitive to its fragrance. Likewise, when one becomes too familiar with a sight, one loses the ability to truly see it. Habit robs us of the power to perceive anew, much less the power to be moved. Thus it has taken us all these years, all these ages, to detect the beauty in common objects. The world of utility and the world of beauty are not separate realms. Users and the used have exchanged a vow: the more an object is used the more beautiful it will become and the more the user uses an object, the more the object will be used. When machines are in control, the beauty they produce is cold and shallow. It is the human hand that creates subtlety and warmth. Weakness cannot withstand the rigors of daily use. The true meaning of the tea ceremony is being forgotten. The beauty of the way of tea should be the beauty of the ordinary, the beauty of honest poverty. Equating the expensive with the beautiful cannot be a point of pride. Under the snow's reflected light creeping into the houses, beneath the dim lamplight, various types of manual work are taken up. This is how time is forgotten; this is how work absorbs the hours and days. yet there is work to do, work to be done with the hands. Once this work begins, the clock no longer measures the passage of time. The history of kogin is the history of utility being transformed into beauty. Through their own efforts, these people made their daily lives more beautiful. This is the true calling, the mission, of handicrafts. We are drawn by that beauty and we have much to learn from it. As rich as it is, America is perhaps unrivalled for its vulgar lack of propriety and decorum, which may account for its having the world's highest crime rate. The art of empty space seen in the Nanga school of monochrome painting and the abstract, free-flowing art of calligraphy have already begun to exert considerable influence on the West. Asian art represents a latent treasure trove of immense and wide-reaching value for the future and that is precisely because it presents a sharp contrast to Western art. No other country has pursued the art of imperfection as eagerly as Japan. Just as Western art and architecture owe much to the sponsorship of the House of Medici during the Reformation, tea and Noh owe much to the protection of the shogun Ashikaga Yoshimasa ( 1436-1490 ). The most brilliant era of Japanese culture, the Higashiyama period ( 1443-1490 ). Literally, sabi commonly means "loneliness" but as a Buddhist term it originally referred to the cessation of attachment. The beauty of tea is the beauty of sabi. It might also be called the beauty of poverty or in our day it might be simply be called the beauty of simplicity. The tea masters familiar with this beauty were called sukisha-ki meaning "lacking". The sukisha were masters of enjoying what was lacking.

Takoyaki are octopus balls- not, thankfully, in the anatomical sense. They're a spherical cake with a chunk of boiled octopus in the center, cooked on a special griddle with hemispherical indentations. If you're familiar with the Danish pancakes called aebleskivers, you know what a takoyaki looks like; the pan is also similar. Takoyaki are not unknown in the U.S., but I've only ever seen them made fresh at cultural festivals. Iris is a big fan, but I've always been more into the takoyaki aesthetic than the actual food. Takoyaki are always served in a paper or wooden boat and usually topped with mayonnaise, bonito flakes, shredded nori, and takoyaki sauce.

Saavik gazed calmly at the viewscreen. She was aesthetically elegant in the spare, understated, esoterically powerful manner of a Japanese brush-painting.

Simplicity isn't about being a cold, hard minimalist. A different way of looking at simplicity is to take note of the Japanese aesthetic of wabi sabi. It is difficult to translate it directly into a Western sensibility but it is a way of finding beauty in imperfection and profundity in nature.

A garden without flowers! - What an anomally to the European whose mind has been trained to regard a garden as the special home of bright-colored blossoms, the color and perfume of which diffused for his delectation and enjoyment! To him the flowerless gardens of Japan at first appear very sombre and severe, but eventually the mind yields to the subtle power of the aesthetic style of Japanese art, whose influence is about him in so many ways, and in none more than in the fascinating style of Japanese landscape-gardening, which he ultimately grows to admit is decidedly purer in taste and more satisfying to the hiher requirements of the mind, than our own. A Japanese garden is especially designed to retire into - to meditate in - and is a place where perfect oblivion of the outside world is secured.

To put it in somewhat contradictory terms, true tea existed only before the advent of the tea ceremony. After the coming of tea, when deformation came to be consciously sought, common everyday beauty disappeared and unnatural manipulation began. This meant the demise of the beauty of tea. Every country, according to its historical and geographical conditions, has its own peculiar character. India is characterized by intellect, China by ready action and Japan by aesthetic perception - the three splendors of the East. Indians are adept at thinking, Chinese at acting and Japanese at appreciating art. In Europe, France is close to Japan, Judaism to China and Germany to India. In Germany, however, the intellect tends to be philosophical rather than religious. While there may be many intrinsic contradictions, I still think that there is probably no country like Japan whose people live in surroundings composed of specially chosen objects. Behind it all is undoubtedly some sort of educated taste or standard of beauty. In Korea, the number of monochrome pieces in white or black glaze is stupendous. there are no intricate designs featuring a multitude of colors. the same is true for Korean textiles, which are undyed. Everyone wears white clothing.

Art does not erect its own world independently of man's other activities; instead, all the various activities that make up life are absorbed, as it were, into a single aesthetic system.

Every time I am shown to an old, dimly lit, and, I would add, impeccably clean toilet in a Nara or Kyoto temple, I am impressed with the singular virtues of Japanese architecture. The parlor may have its charms, but the Japanese toilet is truly a place of spiritual repose. It always stands apart from the main building, at the end of a corridor, in a grove fragrant with leaves and moss. No words can describe that sensation as one sits in the dim light, basking in the faint glow reflected from the shoji, lost in meditation or gazing out at the garden. The novelist Natsume Sōseki counted his morning trips to the toilet a great pleasure, “a physiological delight” he called it. And surely there could be no better place to savor this pleasure than a Japanese toilet where, surrounded by tranquil walls and finely grained wood, one looks out upon blue skies and green leaves. As I have said there are certain prerequisites: a degree of dimness, absolute cleanliness, and quiet so complete one can hear the hum of a mosquito. I love to listen from such a toilet to the sound of softly falling rain, especially if it is a toilet of the Kantō region, with its long, narrow windows at floor level; there one can listen with such a sense of intimacy to the raindrops falling from the eaves and the trees, seeping into the earth as they wash over the base of a stone lantern and freshen the moss about the stepping stones. And the toilet is the perfect place to listen to the chirping of insects or the song of the birds, to view the moon, or to enjoy any of those poignant moments that mark the change of the seasons. Here, I suspect, is where haiku poets over the ages have come by a great many of their ideas. Indeed one could with some justice claim that of all the elements of Japanese architecture, the toilet is the most aesthetic. Our forebears, making poetry of everything in their lives, transformed what by rights should be the most unsanitary room in the house into a place of unsurpassed elegance, replete with fond associations with the beauties of nature.

To practice the Way single heartedly is, in itself, enlightenment. There is no gap between practice and enlightenment and daily life.” This stripped-down Buddhist aesthetic pervades all aspects of St Zen. Most St Zen temples eschew the fantastic sculptures of bodhisattvas with their jewelry and fluttering robes. Instead, Zen emphasizes rock gardens, green-tea caffeine-infused meditation, and single-mindedness.

in American animation the dialogue is recorded first. Even though that may sound like a little technical, procedural issue, it actually affects how animation is used, the aesthetics, and the entire approach to the idea of animation as performance. This is a central difference between American animation and Japanese animation.

More importantly, however, the formalized apprenticeship system led to higher and higher aesthetic and quality standards. The desire to make things better and better became compulsive. Japan’s traditional culture therefore tended to produce people who were korisho (koe-ree-show), or “perfectionists.” Anything less than perfect immediately caught their eye, and even if an imperfection was so slight it was barely noticeable, it would be conspicuous to the Japanese and they would reject the product.

Japanese aesthetics (in contrast to Western aesthetics) is more concerned with process than with product, with the actual construction of a self than with self-expression.

Ando's austerity is very much at home with the Japanese aesthetic of limited furnishings and an avoidance of the clutter that so often charac terizes Western homes . The purity of the space invites contemplation of the view , and the architecture is the device that permits such thoughtful observance .

Rikyū called his aesthetic philosophy wabi (侘び) and sabi (寂び). Wabi refers to modest circumstances. Rikyū encouraged his followers to seek quiet satisfaction in less than opulent surroundings, and to find beauty in the modest beauty that shines more in contrast to its seemingly shabby environment. Sabi refers to internal quiet and peace. Rikyū proposed that true appreciation of beauty is borne out of the person’s quiet contentment, rather than avarice.

While not inherently "green" in the current sense of ecology, Zen evidences quite a number of core qualities and values that can be considered ecofriendly and help it serve as a model for new theories that address problems of conservation and pollution control. Traditional Japanese society is characterized by an approach based on healthy, efficient, and convenient living derived from a mental outlook that makes the most of minimal natural resources. Zen particularly endorses the values of simplicity, in that monks enter the Samgha Hall only with robes, bowls, and a few other meager possessions; thrift, by making a commitment to waste nothing; and communal manual labor, such that through a rotation of chores everyone contributes to the upkeep of the temple. The image of dedicated monks sweeping the wood floors of the hallways by rushing along on their hands in a semi-prostrate position is inspiring. Furthermore, the monastic system's use of human and material resources, including natural space, is limited and spare in terms of temple layout, the handling of administrative duties and chores, and the use of stock items. The sparse, spartan, vegetarian Zen cook, who prepares just enough rice gruel for his fellow monks but not a grain too much or too little, demonstrates an inherent—if not necessarily deliberate—conservationist approach. The minimalist aesthetic of rock gardens highlights the less-is-more Zen outlook that influenced the "Buddhist economics" evoked by E. F. Schumacher in Small Is Beautiful.

The Hokku poet's chief aim is to impress the readers with the high atmosphere in which he is living.

Whether traditional or modern, one cannot ignore the historical development of Japanese art forms when exploring the aesthetic, performing, and ideological frameworks of Japanese animation.

the Japanese art of kintsugi, or “golden joinery,” a method of repairing cracked pottery with a vein of lacquer mixed with gold or silver. A plausible origin story dates this art to the fifteenth century, when Japanese shogun Ashikaga Yoshimasa broke his favorite tea bowl and sent it back to China to be repaired. It was returned with ugly metal staples, prompting the shogun to order his craftsmen to find a more aesthetic means of repair. I love the idea that an accident can be an occasion to make something more delightful, not less so.

Even when consciously savoring tea, connoisseurship should never lapse into affectation. Chinese tea-lovers often mock the Japanese tea ceremony for its picayune rules and tiresome rituals. In contrast with stern Japanese formality, Chinese tea-drinking embodies a far more natural aesthetic. Whenever you drink tea, remember to relax, be yourself, and enjoy the moment. Any trace of fussiness or pretension violates the free and easy Daoist spirit that makes Chinese tea-drinking so enjoyable.

Camille really wanted to draw her. Paulette's face evoked little blades of grass from the roadside, wild violets, forget-me-nots, buttercups. A soft face, open, gentle, luminous, fine like Japanese paper. The lines of sorrow disappeared behind the vapor rising from the tea, and gave way to a thousand little kindnesses at the corners of her eyes. Camille thought she was lovely. Paulette was thinking exactly the same thing. She was so graceful, this young thing, so calm and elegant in her vagabond's trappings. She wished it were spring so she could show her the garden, the quince branches in bloom and the scent of the seringa. No, this girl was not like other girls. An angel from heaven, who had to wear huge bricklayer's boots to stay down here among us.

The power of human touch is immense, more than the world has ever realized. Over time, I have, in addition to shaking hands, also thrived on a warm hug as a form of greeting. In fact, in all the live Conversations and Events we curate, we gave away a lot of “Happyness” hugs to our audiences. So, the handshake and the hug will be truly missed for some time! Adapting to a post-COVID-19 scenario, I would continue to use a “Hi!”, along with a wave of the hand, as a distant or casual greeting. But when in close proximity to someone, or in formal settings, I would like to primarily rely on the Japanese bow – a deep, long one. It is elegant, aesthetic and respectful. Additionally, it draws from the spirit of ancient Indian culture – indicating that the divinity in me bows to the divinity in you. To me, this spiritual greeting comes closest to making up for the absence of human touch.

I readily admit that I am not a minimalist. I find solace in the fact that the traditional Japanese minimal aesthetic was made possible by the equally traditional kura (storehouse) where the items not in use or on display in the home would be kept. I like being surrounded by things that inspire me and allow me to start new projects instantly. I know it’s wrong, but I do judge people. An obsession with minimalism has always smacked to me of a romanticism of poverty (and potentially an outdated one at that) from a wealthy perspective. I think of Marie Antoinette having a little farm built on the castle grounds so that she could play at being a peasant shepherdess. Considered minimalism in this day and age is generally a pastime for those with the affluence to buy (or rebuy) what they need, when they need it. The considered minimalist needn’t be as resourceful about keeping things around “just in case,” because, at any moment, he or she can replenish the shelves with abundance.

Zen practice stresses the focus on the here and now, sitting with whole awareness, and immersing the mind with unity of all things. This practice gives way to a feeling of spaciousness, where extreme emotions subside and new insights reveal the nature of one’s true self. Zen aesthetics that apply to Japanese haiku often contain one or more of these qualities: Wabi–simplicity, imperfection Sabi–the beauty of loneliness or tranquility Mono no aware-the "ah-ness" of things, as in the transience of the falling cherry blossom petals. Yugen-a mystery deep within things, such as a mountain-top glimpsed through haze. Makoto-sincerity: intense, spontaneous emotional responses.[ 12]

This book by Dr. Yasuda, while ostensibly about haiku, in reality penetrates deeply into the totality of this living spirit of Japan. It deals with those aspects which have produced and maintained haiku into the present day. The important key to understanding comes with the realization that in Japanese art one strives always for the absolute. Of the absolute there is no question of degree; it is either attained or lost. Most often, to be sure, it is not attained, but it is the constant striving toward and awareness of that high goal which gives strength and vitality to this living aesthetic spirit which has so impressed me in Japan. (Robert B. Hall, Foreword, p. x)