Доклады секции:
"Общество и политика" 2006
THE AESTHETIC-CULTURAL PRINCIPLE OF GEIDO IN BECOMING AND DEVELOPMENT
OF THE JAPAN THEATRICAL ART.
(INFLUENCE OF JAPANESE’S RELIGIOUS AND PHILOSOPHICAL OUTLOOK)
рost-graduate, teacher Nurutdinova A.R.
Kazan State Technological University
420015, Russia, Tatarstan Republic,Kazan,K.Marx 68.
rstmvn@yahoo.com
The Phenomenon of Japan – are the words
daily used in last two - three decades. In fact each country represents
determined interest, is unique. Why only to Japan is used the concept
"phenomenon"? The aesthetic crop as to the world not only definitely
makes up the valuable attitude and adjusts all system of human relations,
but also there is a problem of preservation and consolidation of actually
human status wherefore developing of the human nature depends on character
and quality of these attitudes also, and even on the further survival
of the person.
The actual understanding of aesthetic-cultural phenomenon
of Japan represents for us huge theoretical and methodological worth as
unique experience of Japan on aesthetic perfecting the person constituting
genuine sense, takes the important place in philosophical world outlook
and religious doctrines of the Orient. The wide experience of Japan, the
cultural wealth produced by it constitute both its specificity, and a
peculiar counterbalance strengthened contact some in the West rational
- pragmatically, instrumentally approach to a problem of the attitude
of the personality to the world.
The actual understanding of aesthetic-cultural phenomenon
of Japan represents for us huge theoretical and methodological worth as
unique experience of Japan on aesthetic perfecting the person constituting
genuine sense, takes the important place in philosophical world outlook
and religious doctrines of the Orient. The wide experience of Japan, the
cultural wealth produced by it constitute both its specificity, and a
peculiar counterbalance strengthened contact some in the West rational
- pragmatically, instrumentally approach to a problem of the relation
of the personality to the world [1].
The Orient has kept the richest inheritance in the Muslim,
the Hinduism, the Buddhist, the Confucians worlds. Aesthetic principles
of Japanese art were generated under effect of three major religious -
philosophical doctrines which have defined traditional outlook of inhabitants
of Country of the Rising sun, - the Shinto’s, the Confucians and the Buddhism.
Force of Japanese crop - in its polytonality and synthetically
character, due to that was made up and developed under spiritual - aesthetic
effect of different religions: primordially Japanese, orient classical
and western world outlook, ethical and behavioral settings have merged
together. In the capacity of its national - psychological aspect the construction
the Shinto-Bushido appears where the Shinto forms spiritual, and the Bushido
- a behavioral element. It has reduced in making up of two levels of a
social context with different patterns of the relation to the world, precisely
having revealed stability of «a rooted system»[1] the traditional national
crop which have defined and a system of aesthetic formation in Japan.
In medieval Japan the religion carried in itself deep emotional
experiences, in it concentrated the basic ideas of art. Spiritual life
of the country was determined by the Buddhism, the Shinto and the Confucian
(ideas of the Dao also took place, but in a combination, as a rule, with
the Zen - Buddhism). These doctrines found obvious and implicit reflection
in the Japanese art. In the first case direct inclusion of sacred texts
in a fabric of a work of art took place: citing the saint readings of
Lotus, saying of an artistic image. In the second case religious motives
sounded only in soul of the master, introducing in its creations a special
atmosphere perfectly caught by the medieval Japanese funyoke.
Large aesthetics Idziro Masyro, specifying on original religiousness
of traditional Japanese art and marking thus especially art of tea ceremony
“TANOJU” and art of drawing up the Ikebana, writes: «If to speak about
"the world of a flower" at first it was a flower brought on
a sacrificial altar to the Buddha»[1], but at the end of period Nambokyte
its applicability began to vary the same as architectural style varied
also.
National memory strong connects this art to the Buddhism
and partly with the Chinese doctrines. That is why the riches of emotional
and ideological associations in an ikebana have a wide spectrum: from
cosmological representations of ancient Chinese about a parity of potentialities
of the sky, the Earth and the Person before illusion of a Buddhist altar.
The spiritual underlying reason of tea ceremony “TANOJU”
is even more complex. Certainly, as all researchers correctly mark, this
kind of traditional art was influenced with the Zen - Buddhism, its presence
is appreciable in the spirit of sad refinement, limiting laconism of furniture
of a tea small house and tea utensils. But Professor Idziro approves,
that desire to it is much more deeply connected with the Shinto, and this
connection is traced not only on emotional, but so to say and at a material
level: the way to a tea small house - is as though short it was is a symbol
of that way which should overcome every-one, making pilgrimage in the
Shinto a temple.
The unique alloy of religious doctrines from continent with
the primordial - Japanese religion the Shinto promoted formation special
a spiritual atmosphere. It directly or indirectly influenced formation
of aesthetic tastes and sights of the medieval artist. Also continues
to form them and to this day. Nevertheless, all these doctrines informed
the aesthetic categories arising during different epoch, this or that
colouring, and this or that shade of feeling.
If religions influenced specificity “GEIDO” mainly indirectly
aesthetic categories and the concepts created by the largest masters heido
in bowels of the most traditional art, are flesh and blood of this specificity.
The traditional Japanese aesthetics was inseparable from direct art creativity.
Treatises under the theory of this or that kind of art were combined with
practice of training by a method “MIKI-KI” (the meaning is «to see and
hear»). Within the framework of the oral tradition taught from generation
to generation by direct contact of the master - teacher with the pupil.
If to look at philosophy of a creative heritage of thinkers
of the East, it is possible to find out a number of the concepts which
have replaced each other devoted to such questions as true in creativity
of the artist.
The first period – “KODAJ”- from an extreme antiquity up
to V centuries - is marked by domination of ancient cultures “TZEMON”
and “ÝÄΔ. The main feature of this period consists in absence of writing,
but already available «the oral literature»[1]. Art Japanese tradition
in own way unusually advanced aesthetic system originating in days of
creation of first poetic anthologies "MANJESU" (760) and "KOKINSY"
(992) was peculiar original. This system of aesthetic representations
of Japanese was gradually enriched all with new and new concepts fine.
Characteristic feature of outlook of ancient Japanese is
indivisibility aesthetic and ethical. In annals "KODZIKI" and
"NIHONGI", and also in prayer-words "NORITO" as a
syncretism etiquette-aesthetic ideal light pure just heart appears. In
the ancient-Japanese language, the hieroglyph «beauty» had some values
from which the basic were “JUZUKUSI-KI” (beautiful) and “JESE” (kind,
just) and more important value was “JESI” representation about «kind beauty»
is frequent was combined with the love experience directing the person
on virtuous and fine acts. Acknowledgement to that can be found in the
numerous songs which are praising to the skies as truly fine act suicide
of the wife after death of the husband.
The first aesthetic judgment fixed in writing is interesting, that, has
a love modality. Professor Imamiti has found such judgment in chronicle
"KODZIKI" in that episode when a divine couple of founders of
the Japanese islands Idzanagi and Idzanami have estimated each other as
“JUZUKUSI-KI”. Now this word means "beautiful", however in an
antiquity “JUZUKUSI-KI” meant "loved; liked; favourite" much
more, and has been painted by strong personal experiences.
Though “JUZUKUSI-KI”- one of subcategories «fine» and even
synonym to its present designation, it stands further from «objective»
understanding «fine», in its modern sense, than another fixed in "KODZIKI"
a pro-category – “URUVASI”. On pages of a monument this category for the
first time has appeared in a combination “URUVASI OTOKO” (otoko - the
man) and had shades of sense: beautiful, correct, direct, fair, and graceful.
“URUVASI”, believes professor Imamiti, it is possible to relate to categories
of aesthetic lines, but in comparison with its modern value, and its volume
is wider: it included ethical elements "just, fair", therefore
now it cannot be used in quality only aesthetic.
During the ancient period on the Japanese islands there was
an aesthetic outlook; it meanwhile entered as an element into a syncretism
world outlook complex, but here on sources of specificity “GEIDO”: both
symbolic of colour, and ethical "change" of beauty, and an enhanced
attention to life of plants - all these features of the Japanese recognition
of beauty of steel integral and features of an aesthetics “GEIDO”. As
to direct the aesthetics and art “GEIDO” until recently even the Japanese
scientists were limited in the researches by only small part which has
arisen in its channel of aesthetic categories: “MONO-NO-ARAVARE”, “YUGEN”,
“VABI-SABI”, and “MA” and some other. Meanwhile the given concepts appeared
not suddenly and had a long history of formation.
The second period – “TUSEJ” – is marked by occurrence of
writing, strongly pronounced influence of China on spiritual life of the
country, enlightening refinement in a life patrimonial family. These are
times of early feudalism (approximately VI-VIII centuries). In traditional
periodization they correspond to epoch Asyka-Nara- Hejan. “TUSEJ” is the
period of occurrence at once several kinds of art: painting, architecture,
poetry, a sculpture, the literature and music. As a matter of fact it
can be named the period of becoming of the Japanese aesthetic idea, and
first of all peak of development of national poetics on behalf of such
thinkers as KINO TSURJUKAMI (?-945), FUDZIVARA KIN-TO (966-1041) and FUDZIVARA
SAIDAE (1162-1241).
So, by the right it is possible to count the forerunner of
aesthetic idea of Japan of the composer and the author of the foreword
to poetic anthology "KOKIN-VAKA-SJU" (“Assembly of old and new
songs Jamato”, 905) KINO TSURJUKAMI.
However the first, who theorized poetics, was FUDZIVARA KIN-TO
(966-1041), tested strong influence of the Chinese theory of painting
and calligraphy. He has entered into poetic use a category “SUGATA”, the
form which has received development in the further history. FUDZIVARA
KIN-TO has suggested counting the best those poetic products in which
in extremely compressed form the maximum of feelings is expressed.
Skill of the poet, he well thought-out, consists in ability
to cause in the reader “AMARI-NO-KOKORO” (in other words "Surplus
of heart"), that is such emotions which are present at the poem,
but are present implicitly at implied sense, between lines. FUDZIVARA
KIN-TO considered one of the basic receptions of poetry and categories
of poetics “AMARI-NO-KOKORO” which was the predecessor of “JESEI” and
“JEDZE”.
During an epoch of a Middle Ages of blossoming conceptual
searches Japanese aesthetics reach the greatest in creativity FUDZIVARA
SAIDAE (1162-1241). Developing poetics “TAD-AMINE”, he has suggested some
new roles of aesthetic categories. Fudzivara Tayca allocated four base
poetic principles: “YUGEN”, “KOTOSIKARUBEKJE”, “RIYJE”, and “YESINTAJ”.
“YUGEN”, in the given classification the silence, calmness
“matters”. “Koto-sikarubekje” is a principle of naturalness, the coordination
with the nature; “RIYJE” symbolizes grace, grace. At last, “YESINTAJ”,
or "depth of heart» - a principle, in opinion FUDZIVARA, the most
important». Depth of heart «specifies necessity of addition songs or a
verse only as a result of strong experience, an emotional pressure, as
it should be adequately transferred to the reader or the student.
View FUDZIVARA TEJCA became the next part in a continuous
circuit of development of the Japanese aesthetic idea, for which else
since times "KODZIKI" representation about unity of beauty and
goods was typical. Not casually he wrote, that "the beauty songs
- poems is in close connection with truthfulness maintenances, in unity
fine and kind as in "Dao" art and morals are inseparably bound.
The third period, “KINSEJ” (near Middle Ages or «the advanced
feudalism», XIV-XVII centuries) is characterized, first of all, by influence
on an art idea and creativity of the Buddhism, especially schools the
Zen. It was unusually rich on new kinds of art.
Value of epoch “KINSEJ” highly is estimated by many Japanese
scientists because in then art finds gravity, solemnity and detachment.
It is created as though in an atmosphere of death therefore it is always
very sad. The refined simplicity and melancholic refinement became since
then the integral attributes of traditional Japanese art. In poetry has
found a new poem - genre «RENGA», in the field of scenic arts - theatre
«ÑÓÍ»; there was an art of tea ceremony, art of drawing up of vegetative
compositions – «KADO», art of creation of landscape gardens. Magnificent
development was received with architecture. It was time of great theorists’
DZEAMI (approximately, 1363-1443) and SINKEJ (1406-1475) which poetics
are strongly connected to outlook of the Zen - Buddhism.
The following stage of development of the conceptual device
of the Japa-nese aesthetics is connected to creativity such the largest
theorists of art, as SINKEJ (1406-1475) and SETETZU (1381-1459). On the
one hand, these thinkers developed the categorical device of the predecessors,
with another - they have introduced in it the rethought aesthetic experience
of the Buddhist doctrines – Shingon, Tendaj and the Zen. SINKEJ, the theorist
of poetry, in product "SA-SAMEGOTO" has entered concept Gudyo
(truthfulness) concerning poetry, its ideal shape. To reach in poetry
of moral height, it assured, it is possible due to familiarizing the poet
with religious experience, in particular, for experience of school Tendaj.
Requirements "truthfulness", distributed in poetry
and on other kinds of art, marked turn from the game moment to gravity
of almost religious sense. The Buddhism has given to understanding fine
a shade of deep secret, non-existing in the phenomenal world, only hinting
on the world in nominal form.
The fourth period concerning by an epoch of late feudalism
(middle XVII-XIX of century), is called “KINDAJ” «new time». In days of
“KINDAJ” poetry there is a new genre – «HAIKU», in the literature - a
genre of the short story, in the field of scenic art - city theatre «KABUKI»
then puppet-theatre «DZERURI» has reached blossoming. The main theoretical
achievement of the aesthetics of the given period became poetics of well-known
poet MATZYO BASJE. Besides the theory of painting TANOMYRA TAKEDA and
comparative cultural science MOTOORI HORINAGA has appeared.
Characterizing art of that period, MATZYO BASJE wrote, that
«poem - tanka SAJGYO, RENGA SOGY, landscapes SISSY and Tea-art master
RICKY are uniform in the basis» . A basis it was meant, certainly, by
the Buddhism the understood reality which simultaneously is present and
is not present - as though pulses - in the phenomenal world.
On the other hand, it is necessary to note and unity of group
of the recep-tions used by the Buddhism focused artists for a designation
of eternally escap-ing and not having constant form of a "true"
reality. Within the framework of each kind of art the main means, the
main method of expression such "vanish-ing" was developed. Top
of judgments of religious experience in art is the cate-gory “YUGEN”.
As it has been told earlier, for the first time the term “YUGEN” arises
in poetics FUDZIVARA SAIDAE, but his maintenance is final was issued later,
in works SETETZU and DZEAMI.
The following stage of development the aesthetic categorical
device is con-nected to names MATZYO BASJE and masters of tea ceremony
SEN-NO-RICKY. MATZYO BASJE has aesthetically comprehended the Dao system
of Lao-Tzsi and Chyantjzi. From the Dao it has adopted principles of the
self-depth, rude simplicity, "naturalness", absence of taste.
These principles have found an em-bodiment and in an image “MI-TI”, "it
has seen horizons of new aesthetic cate-gories ".
The contribution of MATZYO BASJE in a treasury of the Japanese
aesthetic idea is extremely great and will consist, in particular, in
introduction in an art and theoretical revolution of a category "SABI"
and "VABI". Originally the poet treated them as "calmness",
"tranquillity". However during change and devel-opment of his
creative sights these categories developed also, getting all new and new
semantic shades and becoming more and more difficultly accessible. "SABI"
and "VABI" the extensive literature is devoted. But thus, the
essential characteristic supplementing a palette "VABI" is usually
overlooked: that the given category has a shade "raised".
However, the main source of an aesthetic originality is process of the
exist-ing traditional art.
Last fifth period “GENDAJ” (modernity) begins with epoch
Mejdzi (1868) and lasts up to now. «The period “GENDAJ” represents the
period of acquaint-ance to art of the West, imitating it, its consumption
and, at last, its over-comings»[2],- are written by professor Imamiti.
It is curious, that in conscious-ness of the ancient Japanese perfection
has been connected to full disclosing vital forces as which symbol plants
acted. Influence of the form, colour, and the invoice of a tree on the
Japanese sculpture and architecture is conclusive.
Till the present time architecture which scoops inspiration
in aesthetics of environmental mountains and woods and which carefully
keeps natural natural-ness of wooden materials in the best samples of
the most modern constructions. The relation to art of the artist, feature
of its perception the spectator, features of becoming of the artist. Specificity
of trial - everything, that makes heido by unique art.
Positions of traditional art in Japan are strong, as, probably,
and nowhere in the industrially advanced countries. It totals millions
the admirers devoting the leisure to occupations by a calligraphy and
arrangement of colours, to the com-position of verses of the tank, haiku
and to participation in amateur perform-ances at the theatres "ÑÓÍ
and KABUKI".
Accordingly, there is a huge amount of societies and circles
of amateurs of traditional art. Even if also it is possible to speak about
falling its prestige con-cerning youth, but also how practice shows, with
the years by all means comes back to tradition.
Aesthetic education here - old tradition, and only this one gives the
basis to hope, that in Japan the source of water of life for the traditional
arts meanwhile has not run low: they will find both talented executors,
and the interested stu-dents.
Literature
Sakamoto K. Kokka “Shinto Keisei Katei-no-kinky” // ‘A Study of the Proc-ess
of Formation of State Shinto’. – Tokyo: University of Tokyo Press, 2000,
p.20.