Eastern Aesthetics Research Articles

Idiom-idiom Estetik Cerita Teater Tradisional Amaq Abir

The traditional drama story Amaq Abir is a story performed in the traditional Amak Abir theater performance in Nyampe hamlet, Marong village. As an art form, the story highlights the local wisdom values of the Sasak tribe which is interesting to study, especially in eastern aesthetic studies. Eastern aesthetics as a study of traditional drama has not been widely studied. The aim of this research is to find the form and meaning of eastern aesthetics which are keywords in the traditional drama story Amaq Abir. The theory used is eastern aesthetics. Aesthetics can be interpreted as the beauty/truth that forms a work. Meanwhile, the method is used in this research is a qualitative method with a descriptive nature. In interpreting data, holistic methods are used. This method used in interpreting philosophical meaning. The results of the research found that there are aesthetic idioms that form the traditional drama story Amak Abir, including steadfast, explaining human character who has principles in thinking and acting. Adigang-adigung explains the arrogant and arrogant character of humans. Manut explains the human character who obeys the orders. Jiwe-seli explains the human character who cares about others/gotong royong. Sekti explains the character of humans who have extensive knowledge. Litem-putek explains the character of humans who have the characteristics of good and bad.

Performing fashion/fashioning performance: Kansai Yamamoto, David Bowie and Ziggy Stardust

Kansai Yamamoto (Japan 1944–2020) was one of the first Japanese designers to break into European and American fashion markets. Following his first London showing in 1971, Kansai (as he was known) worked with David Bowie (England 1947–United States 2016) to create a wardrobe for the performer’s 1973 tour, Aladdin Sane. This article explores the pivotal role the collaboration between Kansai and Bowie played in the construction of the performative persona Ziggy Stardust. Focusing on Kansai’s designs and his approach to the western fashion industry – where he employed a similar strategy of deliberate ‘othering’ – I will demonstrate how his intimate partnership with Bowie, already personally drawn to Eastern aesthetics, was pivotal in visualizing the concept of ‘alien’ (both as ‘foreign’ and ‘from out of space’). Kansai’s work – synonymous with bold colour, flamboyant prints and dramatic silhouettes – is heavily influenced by Japanese popular art. His performative involvement in his own runway shows draws distinctive parallels with Japanese theatre. In particular, this article examines the critical influences of Japanese theatre arts, particularly kabuki traditions, and of yakusha-e (ukiyo-e-style actor prints) on Kansai’s oeuvre, and how the designer transformed the previous styling of Bowie’s androgynous Messiah-like character into one of the most internationally acclaimed glam rock icons.

Christian Worldview in the Poetic World of Mok-wol Pak’s Mid-Period Poetry - Focusing on an encounter with Eastern aesthetics (non-duality)

Christian Worldview in the Poetic World of Mok-wol Pak’s Mid-Period Poetry - Focusing on an encounter with Eastern aesthetics (non-duality)

Aesthetic Analysis of Wong Kar-wais Films and Reasons for Western Popularity: A Case Study of Chungking Express

Wong Kar-wais films are characterized by his unique filming techniques and captivating script dialogues, showcasing his distinctive cinematic style. Through personalized expressions, Wong introduces Eastern aesthetics and philosophical thinking to international audiences, resulting in enthusiastic reception. Taking Chungking Express as an example, this film is one of Wongs masterpieces, vividly portraying the urban landscape of 1980s Hong Kong. Despite its short production cycle, the movie has garnered numerous awards on the international stage. This paper delves into the reasons behind the international popularity of Wongs films, using Chungking Express as a case study. It analyzes foreign reviews of the film and explores Wong Kar-wais personal experiences, focusing on his filming techniques and scriptwriting style. Through personalized expressions, Wong presents Eastern aesthetics and philosophical thinking to international audiences, leaving a profound impression of Chinese elements in his films and contributing to their enthusiastic reception.

Estetika Timur Dalam Teater Tradisional Kemidi Rudat Lombok

This study aims to determine eastern aesthetics in the traditional theater of Kemidi Rudat Lombok. The problem is focused on eastern aesthetic values ​​in Kemidi Rudat traditional theatrical performances as one of the arts that expresses aesthetic values ​​originating from cultural nobility. In order to address this problem, references to Soetarno's theory are used in a book on thoughts on eastern aesthetics which are more oriented to spirituality/spirits and moods. The data were collected through observation, interviews and documentation. This study uses a qualitative-descriptive approach using the semiotic analysis method of Tedeusz Kowzan theater. In summary and clearly this study shows that the eastern aesthetic values ​​of the Komidi Rudat theater include: 1) stoicism which is a reflection of the nature of human character which has the principle of maturity in thinking and acting, 2) adigang-adigung which is the antithesis of haughty nature and arrogance that should not be carried in humans. 3) item-putek which is the nature of human optimism in defending the truth and goodness (pute/white) and against bad and evil (item/black). 4) jiwe seli which is the nature of human concern in doing everything, that every work and problem can be solved together/cooperation. 5) sect which is human nature that has knowledge and a clear mind, and 6) manut which is human nature that obeys orders and rules. Keywords: Eastern Aesthetics, Traditional Theatre, Kimidi Rudat.

An Analysis of the Uniquely Chinese Oriental Aesthetic in Crouching Tiger, Hidden Dragon

Crouching Tiger, Hidden Dragon, as a martial arts film, is filled with a variety of summaries and expressions of Eastern aesthetics, the origins of which are closely linked to Taoist thought. This emphasis on the spirit of cessation, seclusion and compassion forms the backbone of the film, while the writing of rebellion, resistance and domestication fills the flesh and blood of the film. In this film, Ang Lee attempts to deconstruct traditional oriental aesthetics and then reorganise them, resulting in Crouching Tiger, Hidden Dragon, a film with a twisted story and vivid, subtle images that carries a classical artistic aesthetic while incorporating modern thinking, which is worthy of a glimpse with an oriental perspective.

KAZUO ISHIGURO’S NOVEL NEVER LET ME GO: INTERMEDIAL DYNAMIC BETWEEN LITERATURE AND CINEMA

The article aims at investigating the phenomenon of intermediality in 2005 novel Never Let Me Go by the British writer Kazuo Ishiguro, whose Japanese origin adds to the inherently laconic, Eastern aesthetics of his writing. Of particular importance is the notion of “literary cinematographicness”, defined as the use of cinematic techniques (or filmic modes) in narrative fiction, thus producing the effect of multimodality. Analyzing Ishiguro’s novel, the article focuses on such elements of literary cinematographicness as the prevalent audiovisuality, the use of audio-visual special effects, different shots sizes and shifts in perspective, montage, frame shots, flashbacks, and flexible chronotope.

The construction and presentation of Middle Eastern Aesthetics in Spring And Water Warm

三仓出版社主要从事中文国际开源期刊的出版与发行，期刊领域涵盖工程技术、数学与物理、人文社会、信息科学、经济与管理、医药卫生、农业、地球环境等学科，借助互联网思维及现代信息技术，立足国内高校及研究机构的科研需求，力图推动中国学术界知识的交流与传播，可期刊发表、发表论文、快速发表，见刊快。三仓出版社欢迎广大科研学者加入我们，参与审稿，合作办刊，投稿荐稿，与中文期刊一同成长壮大。如果您对期刊有任何的意见或者建议，请联系service@sciscanpub.com.

A Study on Creation Principles of Five-storied Pagoda: From the Perspective of Eco-aesthetics

The novel-Five-storied Pagoda-written by Japanese novelist Koda Rohan manifestly presents ecological consciousness from the perspective of the natural principle, the holistic principle, and the harmonious principle, which are the three principles of ecological aesthetics. By perceiving the harmonious atmosphere among man and nature, individuals themselves, individuals, and society in texts, we can learn that Koda Rohan insisted on traditional Japanese aesthetics and prospectively reflected on the modern aesthetic ideology of Japanese society after Meiji Restoration. This paper explores the aesthetic features of—Five-storied Pagoda—by analyzing text expression from a new angle, and probes into the relationship with the three principles of eco-aesthetics. It is aimed to determine the consensus between eastern aesthetics and ecological aesthetics, and it can be inferred that the consensus will, to a great extent, make a special contribution to enriching the construction of ecological aesthetics.

A New Page of Literati Painting from Singapore and Malaysia: A Study of Chen Wen Hsi and Chung Chen Sun

Abstract In the early twentieth century, Chinese literati painting was embroiled in arguments on the relationship between ancient and modern or east and west. Therefore, the artistic practices of Wu Changshuo, Chen Shizeng, Qi Baishi, Xu Beihong and so on, were in response to this development. However, with the occurrence of World War ii and changes in the post-war situation, literati painting underwent further, new changes in different regions. This article intends to discuss the overseas Chinese painters Chen Wen Hsi and Chung Chen Sun as examples in exploring the new development of literati painting in Singapore and Malaysia in the second half of the twentieth century. Chen Wen Hsi was born in Jieyang County, Guangdong Province in 1906. He studied at Shanghai Fine Arts College and Xinhua Art College. He went to Singapore and held an exhibition in 1948. In 1950, he taught at The Chinese High School, and the following year also began teaching Chinese ink painting at Nanyang Fine Arts College. Chung Chen Sun, a native of Mei County, Guangdong Province, was born in 1935 in Malacca, Malaysia. In 1953, he entered the Department of Art Education of Nanyang Academy of Fine Arts, which was founded by Lim Hak Tai. Chung was inspired by predecessors such as Cheong Soo-pien, Chen Wen Hsi and Chen Chong-swee who had pursued the Nanyang style. In 1967, Chung founded the Malaysian Academy of Art. Their styles of painting not only incorporate the Eastern aesthetics and Western theory but also include diverse elements. Their paintings wrote a new page in the history of literati painting during the Cold War era.

A Rasa Reading of Prayer on a Clear Morning in the Month of Magh

The study examines how the persona perpetually searches tranquility in the poem entitled “Prayer on a Clear Morning in the Month of Magh” by Laxmi Prasad Devkota. For the study, I have entered into rasa reading to explore the sovereignty of śānta rasa, which is pervasively dominant in the poem. As the nature of śānta rasa, all emotions merge out of śānta and finally in the end, submerge into it. Primarily, the determinant, consequent, and transitory emotions are identified and further analyzed to illustrate how they conjoin. Through the discussion, it appears that any sensitive readers of the poem could identify themselves to the persona’s emotion as one involves in prayer. It stands as the devotion and celebration of the God and nature in the month of Magh; that represents creation and clarity. It happens there suspending ‘I’, surpassing ego, and searching metamorphosis of the lustrous desires, fabric beauty, and worldly pain for overcoming both life and death enjoying the elixir of the Sun and learning the lesson from the God. As a result, the persona believes in the dying down of the worldly dream to achieve delight and disillusionment eliminating shiny lacy veils entrapping humanity. Thus, the poem searches tranquility as a state of pure peace relishing utmost and absolute aesthetic pleasure, sama. Finally, it expands the scope of the Eastern aesthetics, especially unfolding and widening the area of śānta rasa, which is usually overlooked even in the Eastern literature.

The Idea of Beauty and Its Biases: Critical Notes on the Aesthetics of Plastic Surgery.

Summary:Two biases affect the idea of beauty often embodied in aesthetic surgery. The first one is that the living body is the sum of different parts; the second one claims that beauty results from the sum of beautiful elements. Taken together, these 2 biases explain most of the aesthetic surgery procedures, in which a localized improvement is supposed to impact on the whole body image. In this article, I put into question these 2 problematic assumptions, showing that Western and Eastern aesthetics, on one side, and philosophical reflections, on the other side, support a different conception of beauty. In particular, an alternative idea that opens to authenticity and imperfection and focuses on the living body rather than on the mere anatomical surface is proposed here as a more adequate concept of beauty for aesthetic surgery.

The Earth Garden: Going Back or Going Forward to Nature?

Against the background of a short meditation on the contrasting ways in which landscape has been represented and idealized in Eastern and Western painting traditions, the article will try to show, using some striking examples, that the development of landscape painting in the last two centuries reflects the changing relationship of humanity and leading in both the East and in the West to either the expression of a nostalgic longing for to be as it once was, or to a gloomy expression of the vanishing of amidst the modern, technological world. Connecting to both the concept of harmony, which is a key concept in Eastern aesthetics, and to some recent reflections in Western philosophy on the relationship of and technology, a post-nostalgic conception of and natural beauty is defended, in which and technology are no longer seen as opposing categories, but rather as poles that are intertwined in an ever-lasting process of co-evolution. It is argued that we should not so much strive to go back to nature, but rather to go forward to nature and establish a new harmony between human and non-human and technology. The article ends with some reflections on the role artists and aestheticians may play in this transformation.

Emily Dickinson and Represented Buddhism in Nineteenth-Century America

ABSTRACTDickinson’s poetics engage in a lifelong conversation with Buddhism, indirectly through her reading of American writers’ references to Buddhism. In her early years from 1860 to 1865, she tentatively practices the way towards Nirvana, represented as contemplative calm and subjugation of consciousness, or Nothing, albeit with some doubt; the metaphors about Nirvana shape her, redefining Heaven as a detached mind and constructing idiosyncratic images. The Buddhist vogue since the 1870s reinforces Dickinson’s negative way of achieving peace, cultivates her aesthetics of emptiness and energises her slide into silence. This essay seeks to document the complex interaction between Dickinson and other Buddhism-inspired American writers, in the process revealing something about the formation of Dickinson’s Eastern aesthetics. This discussion will also reveal how an approach informed by Buddhism will shed new light upon some of Dickinson’s poems.

Dickinson’s Allusions to Thoreau’s East

The resonance of Emily Dickinson’s writings with Eastern aesthetics and philosophies has invited scholars to explore her links with Asian influences. Two possible routes have been opened. One is Bu...

Influence of Far Eastern Culture on Russian Cinema of the First Half of the Twentieth Century

The article examines the influence of oriental civilization on the formation of a new European culture at the example of S. Eisenstein’s work. Eisenstein’s interpretation of Far Eastern aesthetics as well as the use of the principles of hieroglyphics in the development of a now common author's method of film editing are being analysed here. Such a dialogical relationship of the Far Eastern culture with the Russian (European) one is an example of how human perception of the East by a westernised person becomes a fertile ground for creativity and formation of a new image of culture. DOI: 10.5901/mjss.2015.v6n3s2p195

A Dialectic of Disinterested and Immersive Aesthetics: Santiniketan Art Education and Labour Translated

AbstractThis article argues for art education's potential to transform mundane work, mindful of the steep challenges of the aesthetic and mundane dialectic. Those challenges, magnified in the context of capitalism and industrialism, confronted twentieth‐century Indian artist educators Rabindranath Tagore and Nandalal Bose, but also confront twenty‐first‐century art educators. Tagore created Visva‐Bharati University to counteract the excessive materialism of modernism, recognising diversity and the immanence of the transcendent in humanity. Tagore's aesthetics, though deeply relational, nevertheless regard the mundane as essentially irredeemable. It is in Visva‐Bharati's environment, however, that Nandalal Bose was able to conceive an aesthetic, developed from Yogic ideas of immanence and Far Eastern aesthetics, which envisioned the transformation of the mundane through creative activity.

Elegance in Game Design

This paper explores notions of elegance and shibui in combinatorial game design, and describes simple computational models for their estimation. Elegance is related to a game's simplicity, clarity, and efficiency, while shibui is a more complex concept from Japanese aesthetics that also incorporates depth. These provide new metrics for quantifying and categorizing games that are largely independent of existing measurements such as tractability and quality. Relevant ideas from Western and Eastern aesthetics are introduced, the meaning of elegance and shibui in combinatorial games is examined, and methods for estimating these values empirically are derived from complexity analyses. Elegance and shibui scores are calculated for a number of example games, for comparison. Preliminary results indicate shibui estimates to be more reliable than elegance estimates.

The Effect of Eastern Aesthetics on Modern Korean Poetry

The Effect of Eastern Aesthetics on Modern Korean Poetry

The East as Poetic Commodity in Shakespeare’s Venus and Adonis

Although a great deal of current scholarship explores the impact of England’s trade with the Ottoman Empire and the East on early modern drama and travel narratives, very little has turned to poetry, and even less to Shakespeare’s poetry. I suggest that this is because we have been asking the wrong questions of early modern poetry. Instead of searching for representations of Oriental identity in poetry, we should look for evidence of the interplay of Eastern aesthetics and commodities in English verse, in order to interpret the intellectual and artistic effects of the mercantile and political exchange between East and West. This essay attempts to uncover an Eastern aesthetic in Shakespeare’s first narrative poem, Venus and Adonis. I contend that Adonis’s horse and the flower into which he transforms function as imported Eastern aesthetic commodities in the poem on many levels. First, the prized Arabian stallion’s Eastern heritage both exoticizes and naturalizes desire. Second, as valuable aesthetic objects capable of being bred (the horse) and propagated (the bulb) to generate economic success, both horse and flower perform the poetic and rhetorical roles of furthering the poem’s goal of out-stripping Ovid and classical poetry and making a name for Shakespeare in the literary marketplace. Though Venus is unsuccessful in her courtship, Adonis’s horse and the flower into which he transforms are not. Their display in the poem attempts to breed fame and fortune for the poem’s new author in the same way an expensive imported animal or botanical specimen might for a nobleman, counteracting the poem’s narrative outcome.