By Donald Richie
This provocative ebook is a tractate—a treatise—on good looks in jap paintings, written within the demeanour of a zuihitsu, a free-ranging collection of principles that “follow the brush” at any place it leads. Donald Richie seems at how perceptual values in Japan have been drawn from uncooked nature after which converted by means of stylish expressions of sophistication and flavor. He explains aesthetic thoughts like wabi, sabi, conscious, and yugen, and ponders their relevance in paintings and cinema today.
Donald Richie is the main explorer of eastern tradition in English, and this paintings is the end result of sixty years of staring at and writing from his domestic in Tokyo.
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Additional info for A Tractate on Japanese Aesthetics
The Seminars The participants: The 2010 Stone Summer Theory Institute had five Faculty, thirteen Fellows, and ten graduate students from the School of the Art Institute. They are shown on the panorama on the following pages. The Faculty: Diarmuid Costello (University of Warwick), Eve Meltzer (New York University), Hal Foster (Princeton University), Jay Bernstein (New School for Social Research), and James Elkins (School of the Art Institute of Chicago). John University), Karen Busk-Jepsen (PhD candidate, University of Copenhagen), Harper Montgomery (PhD candidate, University of Chicago), Joana Cunha Leal (Universidade Nova de Lisboa, Portugal), Nadja Millner-Larsen (PhD candidate, New York University), Martin Sundberg (Postdoctoral Fellow, Eikones, Basel), Gretchen Bakke (Wesleyan University), Stéphanie Benzaquen (PhD candidate, Erasmus University, Rotterdam), and Beáta Hock (Central European University, Budapest).
But Jay, a lot of what you talk about in terms of the puzzle, and the gap between the two critiques, and what might exist in it—sensuous particulars, love, appearances—all that could be thought of in terms of affect. That is a category or term that people like Brian Massumi, Rei Terada, Lauren Berlant are thinking of after structuralism and poststructuralism. James Elkins: In historical terms, the turn to affect is recent. Jay Bernstein: Happiness is an affect. James Elkins: Yes, but you couldn’t get a university job teaching about affect until the 1980s.
Greenberg has always been unintelligible for me in that respect. I understood that autonomy belongs to the strength of art; but the thought that autonomy should be celebrated, rather than being a refuge, is incomprehensible to me. ). Jay, just then you supposed that autonomy was a given; for me it had (has) to be achieved: the autonomy of art, good or calamitous, was (is) a long struggle. Frank Stella says somewhere that the patron saint of painters in the West was the mason who figured out how to support windows in cathedrals to the point where light could penetrate the interiors, thus permitting painting to be to distinguished from the architectural ensemble, and so (we’re skipping a few steps here) to become an art in its own right.
A Tractate on Japanese Aesthetics by Donald Richie