"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 |
Sino-Japanese Modern Heavy Color Painting, Cultural Anthropology, Material Sense, Mono No Aware, Aesthetic Appreciation
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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
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
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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Download@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}
}
TY - JOUR T1 - Comparison of "Material Sense" and “Mono No Aware" Between Chinese and Japanese Modern Heavy Color Paintings from the Perspective of Cultural Anthropology AU - Jing Sun AU - Xintong Li Y1 - 2019/11/19 PY - 2019 N1 - https://doi.org/10.11648/j.ijla.20190706.15 DO - 10.11648/j.ijla.20190706.15 T2 - International Journal of Literature and Arts JF - International Journal of Literature and Arts JO - International Journal of Literature and Arts SP - 160 EP - 164 PB - Science Publishing Group SN - 2331-057X UR - https://doi.org/10.11648/j.ijla.20190706.15 AB - "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. VL - 7 IS - 6 ER -
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