日本生活的艺术第一季

在西方介绍日本的节目中，这是我看过的最好的。期待小狐狸有更多机会展开说他对日本的感觉。

第一遍刷先放点儿截图。

看动作是真喜欢日本文化

扇子上的俳句

哈哈哈，喜欢这么幽默含蓄地解说方式。觉得好像脸红了。

“也许是画家的目光穿过几百年看着我们”，好浪漫。

不过他说雪舟的时候我有点不服，这张玉涧是13世纪的。

雪舟的也放一下吧

看过几个美术馆的北斋，这张色彩是真美。瓷器一样的色泽。

无需语言

卡哇伊

蝉在日本文化中的死亡象征

四星给主持人的口音 画面很美拍摄加分 音乐是老外所理解的日本 虽然也好听

第一篇nature 说书画屏风 都是一年里只给展出几天的顶级国宝 雪舟的破墨山水解释很久 团队完全不理解这画 说的好像又很懂 其实日本人自己都不懂 专业做书画的 个人喜好不同 理解都不一样 BBC上来就用这画立意太高 普通人接触不到 长谷川等伯的松林屏风都是国宝 尾形光琳的鸢尾花园屏风一年只能出来见几日阳光 一般看不到 我理解的艺术生活 是生活处处可以艺术 而不是无法触及 太高的东西 明白要说就说最贵的最国宝才能服众 同时也意味这些东西和大众相去甚远

三部看完感觉就好像去上海旅游三件套 陆家嘴外滩城隍庙 只说最出名的 却并不理解其内涵 凡事只要套上一个禅字 好像就能解释一切 你问日本人禅是什么意思 有多少人能说明白呢 少之又少 整篇形式大于内容

第三篇home 举的例子过于极端 狭小局促的家跟垃圾堆一样虽然也有 但不是所有普通人家都这样 家里连个能踩脚的地方也没有 墙上挂满衣服 BBC想讽刺无印良品的广告 日本对外宣传意识形态和真实生活完全背道而驰 没有禅意 还假借肥腻编年史家之口说有钱人的生活很无趣 谁愿意把家住成垃圾堆.. 过剩的商品 无法倒退的现代生活把大自然越推越远是一方面 但也过于片面 东京优雅纤细 精致也压抑 无论商家还是家庭 男性女性 外观多是精心打扮 漂亮清爽的 绿植办公楼里的绿化墙商场顶楼花园 被照顾得很好的大型树木盆栽 季节性各色花朵 处处都是 虽然变成了点缀而不是融入自然 和纪录片里水泥缝里长出来的蒲公英 一个天一个地 最后用住在长野的藤森来回归自然 也是牵强 人在自己家乡做出从小梦想的房子 不是什么回归 况且这位的行为也是相当另类了 日本人看了都极其不屑 我倒觉得很天真 让住惯超级都市的人回到自然 才是真的回归 可两边都住过的人才知道有多不方便 买什么都没有 要什么都没 而东京又是个让人物欲爆发的地方 只有你想不到 没有他们做不到 为什么这个国家的年轻人都要去东京闯荡是有原因的 因为乡下只有景色和老人

但我还是喜欢这部的影像声音 配乐和质感 尽管没说什么日本生活中的艺术

Japan, a country of aesthetics, maintains the capacity to bring various things in life as a form of art.

Nature

Shinto attitude towards nature

Shinto is polytheistic and revolves around the kami ("gods" or "spirits"), supernatural entities believed to inhabit all things.

Buddhism Zen

Japanese rock garden (枯山水)

Painting

o Sesshū Tōyō (雪舟等楊; 1420 –1506) was the most prominent Japanese master of ink and wash painting from the middle Muromachi period.

雪舟（1420－1506）是一位日本室町时代水墨画画家，出生于备中国赤滨（今 冈山县总社市）。原为相国寺僧人，可能其间向同寺僧人学到了一些绘画技巧。其早期绘画主要是关于宗教人物，后来广泛取法中国唐宋元的绘画，1464年离开相国寺。1467年终于有机会搭乘明日贸易的船只访问大明王朝。《四季山水画》就是他访华期间完成。1502年的《天桥立图》则是他艺术成就的巅峰。他在将水墨画注入民族情感方面有开拓性贡献，影响了雪村周继等后继者。

o Ogata Kōrin (尾形光琳; 1658 – 1716) was a Japanese painter, lacquerer and designer of the Rinpa school.

尾形光琳（1658－1716），日本江户时代的男性画家、工艺美术家，琳派代表人物之一。画风以大和绘风为基调，晩年也有水墨画的作品。大画面的屏风之外，也有香包、扇面、团扇等小型作品和手绘的小袖、莳绘等作品。

Bonsai (盆栽)

Cities

Miyabi (雅) is one of the traditional Japanese aesthetic ideals, though not as prevalent as Iki or Wabi-sabi. In modern Japanese, the word is usually translated as "elegance," "refinement," or "courtliness" and sometimes to a "sweet loved one".

In traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete".

Kyoto – beauty and elegance

· Murasaki Shikibu, The Tale of Genji

· tea as an art form

· Japanese tea ceremony

o express the appreciation of modesty, imperfection and impermanence

o a way to bring nature to the city

o Sen no Rikyū (千利休, 1522 –1591), also known simply as Rikyū, is considered the historical figure with the most profound influence on chanoyu, the Japanese "Way of Tea", particularly the tradition of wabi-cha.

千利休所创“侘”茶的茶道美学影响了许多方面，草庵茶更是引领日本茶道走向禅宗美学“本来无一物”的境界，并且由崇尚华贵“唐物”的审美过渡到遒劲枯高的本土化审美。在这种主张的影响下，日本茶道使用的茶碗发生了很大的变化，日本本土烧造的“乐烧”及朝鲜茶碗渐渐成为主流。

“茶碗”是最重要的茶具，品茶人都非常重视。“唐津烧”、“萨摩烧”、“相马烧”、“仁清烧”，尤其是“乐烧”等制品都非常适用于茶道。品茶人特别珍重“乐烧”，丰臣秀吉甚至用金印赐予制作者河米屋(朝鲜人)的儿子长次郎，特许他可以在瓷器上印有“乐”字，这是丰臣秀吉宅邸名称“聚乐”的第二个字。“乐烧”茶碗的构造非常适于饮茶：碗上涂有一层海绵状的厚糊，不易传热；粗糙的表面，易于把握；微微内卷的边沿，可防外溢；涂釉光滑，唇感舒适，且依然能使绿茶的泡沫就像在黑色粗瓷碗中那样明晰。

It is an artwork to be felt, to be touched, to be used, the texture, the weighting, the temperature, like you could feel the fingers of Chōjirō (長次郎, 1516–?1592) after 400 years.

Edo 江戶 Ukiyo-e (浮世), “floating world” – mysterious voice

· Kabuki (歌舞伎)

First performed by all female cast, later replaced by men performing both male and female roles

· Ukiyo-e woodblock printing

o Edo period – full-color printing for the first time

o Three roles: illustrator, wood carver, and printer

o Kitagawa Utamaro (喜多川歌麿mǒ; c. 1753 – 1806) was a Japanese artist. He is one of the most highly regarded designers of ukiyo-e woodblock prints and paintings, and is best known for his bijin ōkubi-e "large-headed pictures of beautiful women" of the 1790s. He also produced nature studies, particularly illustrated books of insects.

A third of his works are the city’s sex works in the red-light district.

The Pome of the Pillow 春畫 shunga

series of city views

transported to Europe and shaped the form of modern art

Tokyo – turned the destruction into creation

street photograph

animation film (Akira WWII)

design – urban aesthetics

Yayoi Kusama (草間彌生; 1929 - )

“infinity room” infinite metropolis glittering away into the night

Japan’s urban imagination

They all together build up a country blatantly searches for itself.

art in man life, the artfulness of people, Japan, a civilization of several thousands years, cares profundly the details, about getting the little things right...

Oh, I LOVE DR. JAMES FOX, his accent, the soft-spoken rhythm and most esssentially, his extraordinary writing!

自然是日本文化的底色，神道教的简约美学深藏在自然之中，咆哮的瀑布和低吟的唱诵，人在天地自然中体会自己的渺小，哪怕渺小如蝉也是自然中重要的存在，岩石是人类的祖先。深浅不一的泼墨是雪舟笔下的山水，寒冷潮湿的空气从画幅中氤氲而出，凝视深思，风景自然浮现。枯山水承载着另一种自然崇拜，十五块岩石意示着自然的圆满，但人眼却始终无从饱览到全貌，世界的意义无法破译，空白与神秘是东方的色彩。荒野自然的奥秘同样被剪裁在盆景中，三五百年的植物生命是比人类更为崇高的圣灵般存在，扭转的肌肉、咆哮的海浪，扭曲的枝桠是自然不可驯服的暗喻。

“茫茫不见富士，妙趣深藏雾中”。近乎完美的对称轮廓在神秘迷雾中成为日本文化的隐喻，葛饰北斋的名字又一次被提及，富岳三十六景时隔许久再看仍然给人许多感动，人类被巨浪袭卷，微不足道却永不屈服。

工业发展和环境变化之间的矛盾张力让现代日本艺术家生成一种反思意识，快速发展的社会下日本茶道和园艺的慢动作显得弥足珍贵。古老神道教对自然的珍视是希望的根基，杉本博司的黑白图像存储着关乎海洋的起源，护王神社的新奇结构出乎意料又似乎是史前自然的古老原生，如何和自然共存又一次成为现代社会的命题作文。

战争、地震、洪水、海啸，自然和人为的灾难一遍遍重创这个国家，城市在千百年间的毁灭中数次重生。

京都是精心设计的艺术品，是乌托邦的蓝图，1600座寺庙和400座神龛是最为神圣的装饰，和平与安宁之都蕴含着miyabi式的东方美学，紫式部的《源氏物语》是千年之前复杂故事也是人类永恒不变的关于爱与恨、嫉妒与释怀的角力。茶道在日本被赋予不同于中国的独特意义，研磨、敲打、瓷器的选择，一招一式的比划不是刻板的章法，而是深入意识层面的修炼。粗糙肮脏的粘土在匠人的打磨下成为精美的茶具， 刚好的重量、质地、温度，茶碗是wabi-sabi的缩影，不完美之处恰是最值得被欣赏与感恩的部分。

江户在德川幕府时期崛起，渔村在迈向现代化的百年间经受了数次火灾，严格的社会等级制度塑造着城市纪律和节俭的品性，但主流的文化却在地下孕育。ukiyo成为日本的精神状态，随波逐流、拥抱当下的享乐主义造就了日本的歌舞伎文化，嘈杂、混乱、骚动，短暂的放肆和逃离。这时期的浮世绘转向一种新的视觉与法，北川宇之丸留下一列 隐晦的作品便消失在江户时期的霓虹中，水面与海岸同样是木版画的主题，又随着东西方的贸易往来成为现代艺术的源头。

传统的日本社会无法阻挡西方的工业入侵，江户改名为东京，巴洛克风格的建筑出现在城市的街道，复制版的白金汉宫塑造着日本关于欧洲强国的想象，直到地震和战争将城市摧毁，重新拥抱现代性的决心将日本推向快速发展的列车，金盖成为新时代的浮世。新宿是东京的下腹部，模糊的无法辨认的影像是艺术家关于日本社会含混不清复杂处境的描述，世纪动荡后城市重建飞奔，但过往的文化与艺术却不足以支撑起国家的身份认同，《阿吉拉》的大爆炸场景，《萤火虫之墓》的战争描摹，反乌托邦的记忆与想象是无法抹去的伤痛。而破坏却孕育创造，在现代时尚产业与城市美学中，草间弥生的艺术重新抓住时代精神，走进镜子装置犹如掉入万花筒，室内闪烁的星系是夜晚繁荣的城市，动态和复杂成为日本的城市想象。

现代日式家庭生活的美学艺术是古老传统的再造。家具木材是shokunin精神的载体，在极其寂静的环境中测量、打磨，精确、专注的民族品格在古老手工传统的传承中被打磨塑造，低矮的木质庭院是禅宗美学的外化，榻榻米和稻草垫承载着ma的精神，打造出日本独有的负空间，沉默和空白同样是意义的体现，简约干净的线条成为现代主义的追随。唯有tokonoma是家庭空间浓墨重彩的装饰，插花时至如今已经不再作为宗教性的含义，而是作为个人化的难以描述的情绪表达被陈列，美学奇迹在花瓶中被创造，枝桠之间是四季在交叠。tokonoma不自觉地创造出冥想的空间，瑞穗水是生命的起源，视觉的和谐在不同的色彩间、在不同曲度线条的交错中，正与负的空间中是植物带来对生命的反思。悬挂卷轴上的书法是千年不变的笔画，大尺幅的创作过程何尝不是生命在起舞。

现代社会变化的过程中如何保留文化遗产，杂乱城市中新型的美学商业发展，禅宗美学成为无印良品的品牌内核，但真正的当代日本生活却狭窄混乱，经典美学和态度在现实中饱受捶打，东京年轻人面临狭小空间中如何获得空间与自由的困惑，建筑师在乡野间建设出漂浮于空中的茶馆给出答案，自然生长的草木重新唤回史前的粗野，无关乎极简主义或是现代主义的表述，熟悉的周遭风景与童年记忆才是避风港的全部支撑。

Japan is a society that has the capacity to turn everything into Art - not just the gardens and sculptures, but the way you drink tea, or the way you look at cherry blossom.

(*林语堂 《生活的艺术》*李渔《闲情偶寄》)

【E01. Nature】

Shinto 神道教

-believes the world is inhabited by spirits known as Kami (神) all around us,

-Netsuke (挂坠): nothing in nature is too small to deserve our respect

-we can be incarnated into anything: wind, rock, water…

Zen 禅

-apart from meditation, also put emphasis on practical tasks such as tidying the garden, cooking, etc

Splashed Ink Brush Painting 泼墨山水画

-an aesthetic that prefers ambiguity to clarity, absence to presence, and the hazy mysteries of nature

-emptiness/留白 as a visual metaphor for the silence of Zen meditation

Dry Landscape (枯山水)

-you can never see the complete set of stones, a reminder of human imperfection that one mind can never understand everything

-just like the paintings, garden is a blank canvas that enables the mind to wander in any direction it pleases

-"The answer isn't important, but the search for understanding. That's why we value the unknowable and the mysterious."

-You can't understand Japanese culture until you begin to embrace the beauty of mystery.

Bonsai

-a desire to capture a fragment of nature around us as decoration

-Goyamatsu: 500 y/o as Michealangelo's David. A paradox of creation both by human and nature.

Cherry Blossom

-fleeting beauty/cycle of life

-It is celebrated because of its transience. It is beautiful precisely because it does not last.

Seasons

-explicit

-a measurement of time, naturally and humanly

Mount Fuji

-its silhouette alone has become a metonym(转喻) for and entire culture

Thoroughness 彻底性

Naoshima 直岛

Hiroshi Sugimoto 杉本博司 - 海景\重复构图\极致\与古远的联结

And his shrine

"We've destroyed so much of nature, now it is a turning point-to think about how to live with nature."

【E02. Cities】

The constant flow of disasters have forced the Japanese to rebuild and reimagine their cities, turning them into one of the most dynamic in the world.

1.)Kyoto

-Inspired by Chang'an, every part of it carefully planned.

-In Kyoto, "style" was emphatically substance.

-Myabi (雅) 作为这座城市的核心美学

Sen no Rikyo (千力休) turned tea drinking into an art form.

-tea as revelation, elevating ppl's conciousness

-a ceremony to express modesty, imperfection and impermanence (无常)

-seeking an alternative of utensils, simple and undecorated: Raku pottery 乐烧, an art work to be held, touched, felt and used.

-Wabi-Sabi: the Japanese reverence for the imperfect, the unfinished, the worn-out

2.)Edo

-"Ukiyo", the pleasure district, the floating world, wasn't only a physical place, but also a state of mind.

"Living only for the moment,

turning our full attention to the pleasures of the moon, the snow, the cherry blossoms and the maple leaves,

singing songs, drinking wine,

diverting ourselves and just floating, floating,

caring not a whit for the pauperism,

staring us in the face,

Refusing to be disheartened,

Like a gourd floating along with the river current -

This is what we call the 'floating world'."

-Kabuki (歌舞伎)

-People's passion and enthusiasm for life reached a peakin the Edo period.

Wood Block Printing 木刻版画. illustrator + carver + painter

Ukiyo-e 浮世绘, pictures of the floating world

-Kitagawa Utamro: 1/3 works fascination of women at redlight districts

-The Poem of the Pillow, 1788

"Its beak caught firmly in the clam shell, the snipe cannot escape of an autumn evening."

The nape of her neck was considered more sexual than the genital

-Shunga (春画): spring pictures

-Hiroshige 歌川広重

They established the basis of a new visual grammar: bold, graphic, and economical, which later influenced the western modern art.

3.)Tokyo

-Rebranded from Edo, a new identity and new name.

Akasaka Palace: An attempt to represent Japan as a European power, a brazen act of cultural appropriation

Golden Gai: "an arena of human desires, a labyrinth, a myth"

Moriyama Daido 森山大道:

-father of street photography in Japan

-captures the rootless and hedonistic inhabitants in Tokyo's underbelly

-"An unkepmt stray dog glances at the photographer in the winter sunshine, a proxy for Moriyama himself - a loner scavenging the streets for scraps. It's also a symbol of Japan - a country that hadn't yet found its identity in the turbulence of the 20th century."

"We are used to recovery here. Just as trees grow back, life goes in a circle. Maybe it's in our spiritual make-up."

【E03. Families】

Carpentry

-In the case of the way of using tools, we pull, you (europeans) push. We care for the others.

-Your architects go against nature, we co-exist with it. We thought of ourselves living under a great tree-that's our attitude toward architecture.

-Respect is a cornerstone of his philosophy.

-spirit of shokunin 职人/匠人，absolute concrentration & precision on the work at his hands

"Ma" 间

-the negative space in between, the interval, the pause, the void, is just as full as what's surrounding it

”Length of time depends upon our ideas.

Size of space hangs upon our sentiments.

For one whose mind is free from care,

A day will outlast the millennium.

For one whose heart is large,

A tiny room is as the space between heaven and earth.” --菜根谭

Houses

-open-plan living, minimalist interiors, clean simple lines

-modernist architecture of hundred years old

-tokonoma 壁龛, heart of the home : a scroll of calligraphy+ ikebana

Ikebana: a domestic art, a highly personal expression.

-"It's about arranging the space around them (flowers).

Seasons are changing. Through Ikebana we learnt it's the same with humans: to be alive means constant change."

Shodo 书道

-守，破，离: to learn, to break away, to transcend

Zenimalism: Zen+Minimalism

-a trademark of contemporary JP architects, a major national style of architecture

-Tadao Ando 安藤忠雄

-Toyo Ito伊东丰雄

-Kengo Kuma 隈研吾

-though it started with the rich, commercial brands like MUJI packaged and launched it to the mass market.

Mujirushi = no brand

-Image is what MUJI is all about

-a pack of "stones": an epitome of the tradition and stories behind

The artfulness of people.

There's a precision and elegance in so much of what they do.

A culture caring profoundly about details, about getting little things right. That's why even in the most ordinary places, beauty can be found.