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Comparison of "Material Sense" and “Mono No Aware" Between Chinese and Japanese Modern Heavy Color Paintings from the Perspective of Cultural Anthropology

Received: 4 July 2019     Accepted: 7 November 2019     Published: 19 November 2019
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Abstract

"Material sense" and "mono no aware" are respectively an important concept in the traditional aesthetic consciousness of China and Japan. "Material sense" embodies the Chinese aesthetic concept and philosophical thinking, rational consciousness, and pays attention to the unity of reason and reason. On the basis of China's "material sense" concept, Japan has injected its own cultural temperament to develop a “mono no aware" concept. "Aware" indicates that Japanese aesthetic concepts are related to direct feelings and perceptual knowledge, attaching importance to people's emotional attitudes and highlighting sadness. The commonality between the two is that the emotion is triggered by the image, and then it is empathized with the object to achieve the aesthetic experience of the scene. Material sense and mono no aware are both psychological feelings of natural aesthetic taste, reflections and reactions to emotions. The difference between the two is that the connotation of material sense is greater than the connotation of mono no aware. Material sense is the concentration of various emotions. Although mono no aware also expresses multiple emotions, it is still full of sadness. The focus of mono no aware is placed on the "sorrowful beauty". Compared with material sense, mono no aware is more sentimental, sly and quiet. This article will use the “material sense" and “mono no aware" views as the foothold to analyze the similarities and differences between Chinese and Japanese modern heavy color paintings on their respective aesthetic pursuits.

Published in International Journal of Literature and Arts (Volume 7, Issue 6)
DOI 10.11648/j.ijla.20190706.15
Page(s) 160-164
Creative Commons

This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.

Copyright

Copyright © The Author(s), 2019. Published by Science Publishing Group

Keywords

Sino-Japanese Modern Heavy Color Painting, Cultural Anthropology, Material Sense, Mono No Aware, Aesthetic Appreciation

References
[1] [German] Marx, Engels. "The German Ideology" excerpts, compiled by the Central Compilation Bureau, People's Publishing House, 2003, pp 2.
[2] Ge Zhaoguang: History of Chinese Thought (Volume I), Fudan University Press, 2014, pp 15.
[3] Xiang Huailin: "The Description of Chinese Traditional Culture", Chongqing University Press, 2016, pp 25.
[4] Zhou Jianping. A Comparative Study of Classical Aesthetic Scope between China and Japan, China Social Sciences Press, 2015, pp 162.
[5] [Japanese] Suzuki Shuji: "Chinese Literature and Japanese Literature", Strait Literature and Art Publishing House, 1989, pp 11.
[6] Zhou Jianping. A Comparative Study of Classical Aesthetic Scope between China and Japan, China Social Sciences Press, 2015, pp 120.
[7] Liu Wei: Wen Xin Diao Long, Writers Publishing House, 2017, pp 295-296.
[8] Zhou Jianping. A Comparative Study of Classical Aesthetic Scope between China and Japan, China Social Sciences Press, 2015: 138.
[9] Zhou Jianping. A Comparative Study of Classical Aesthetic Categories between China and Japan, China Social Sciences Press, 2015, pp 127.
[10] Ye Yiqu. "History of Japanese Literary Trends", Economic Daily Press, 1997: 136.
[11] [German] Hegel. The first volume of Aesthetics, The Commercial Press, 1979: 46-47.
[12] Zong Baihua. "Arts", Peking University Press, 1987: 366.
[13] Ye Yuqu, Kang Yuemei: "Things and Secrets: The Aesthetic Consciousness of the Japanese", Guangxi Normal University Press, 2002, pp 11.
[14] Zhou Jianping. A Comparative Study of Classical Aesthetic Categories between China and Japan, China Social Sciences Press, 2015; 155.
[15] Ye Yuqu, Kang Yuemei: "Things and Secrets: The Aesthetic Consciousness of the Japanese", Guangxi Normal University Press, 2002, pp 23.
Cite This Article
  • APA Style

    Jing Sun, Xintong Li. (2019). Comparison of "Material Sense" and “Mono No Aware" Between Chinese and Japanese Modern Heavy Color Paintings from the Perspective of Cultural Anthropology. International Journal of Literature and Arts, 7(6), 160-164. https://doi.org/10.11648/j.ijla.20190706.15

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    ACS Style

    Jing Sun; Xintong Li. Comparison of "Material Sense" and “Mono No Aware" Between Chinese and Japanese Modern Heavy Color Paintings from the Perspective of Cultural Anthropology. Int. J. Lit. Arts 2019, 7(6), 160-164. doi: 10.11648/j.ijla.20190706.15

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    AMA Style

    Jing Sun, Xintong Li. Comparison of "Material Sense" and “Mono No Aware" Between Chinese and Japanese Modern Heavy Color Paintings from the Perspective of Cultural Anthropology. Int J Lit Arts. 2019;7(6):160-164. doi: 10.11648/j.ijla.20190706.15

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  • @article{10.11648/j.ijla.20190706.15,
      author = {Jing Sun and Xintong Li},
      title = {Comparison of "Material Sense" and “Mono No Aware" Between Chinese and Japanese Modern Heavy Color Paintings from the Perspective of Cultural Anthropology},
      journal = {International Journal of Literature and Arts},
      volume = {7},
      number = {6},
      pages = {160-164},
      doi = {10.11648/j.ijla.20190706.15},
      url = {https://doi.org/10.11648/j.ijla.20190706.15},
      eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20190706.15},
      abstract = {"Material sense" and "mono no aware" are respectively an important concept in the traditional aesthetic consciousness of China and Japan. "Material sense" embodies the Chinese aesthetic concept and philosophical thinking, rational consciousness, and pays attention to the unity of reason and reason. On the basis of China's "material sense" concept, Japan has injected its own cultural temperament to develop a “mono no aware" concept. "Aware" indicates that Japanese aesthetic concepts are related to direct feelings and perceptual knowledge, attaching importance to people's emotional attitudes and highlighting sadness. The commonality between the two is that the emotion is triggered by the image, and then it is empathized with the object to achieve the aesthetic experience of the scene. Material sense and mono no aware are both psychological feelings of natural aesthetic taste, reflections and reactions to emotions. The difference between the two is that the connotation of material sense is greater than the connotation of mono no aware. Material sense is the concentration of various emotions. Although mono no aware also expresses multiple emotions, it is still full of sadness. The focus of mono no aware is placed on the "sorrowful beauty". Compared with material sense, mono no aware is more sentimental, sly and quiet. This article will use the “material sense" and “mono no aware" views as the foothold to analyze the similarities and differences between Chinese and Japanese modern heavy color paintings on their respective aesthetic pursuits.},
     year = {2019}
    }
    

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Author Information
  • Academy of Fine Arts, Shandong University of Technology, Zibo, China

  • Academy of Fine Arts, Shandong University of Technology, Zibo, China

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