英语论文网

sts and poets leading a solitary wandering life in search of spiritual insight incorporated this sense of appreciation in their works and teachings. As these ideas gained momentum, people tried to resign themselves to the sufferings of life and began to see a kind of beauty in them. Expressed in artistic forms, this in turn evolved into the aesthetic appreciation of wabi-sabi Koren, :.

 

Later, the development of the tea ceremony in the th century marks an important step in the evolution of wabi-sabi. Sen no Rikyu, credited with establishing the tea ceremony in its current form, was also influential in establishing wabi-sabi as an aesthetic concept Okakura, :. He extolled the use of simple, indigenous home-style tea utensils over the expensive and highly decorative tea utensils imported from China, placing objects expressing wabi-sabi at the pinnacle of aesthetic appreciation :. Initially, these new aesthetics could only be ‘discovered’ in the humble utensils used by the common people, or in a neglected stone lantern overgrown with moss. However, as time progressed, design works were intentionally created to reflect wabi-sabi, for example, raku earthenware or the design of the tea-house, which took on the style of a simple rural hut , with space inside for only two tatami mats around .m2 De Mente, :.

 

viewed from the outside the tea-ceremony room of the Wabi Way of Tea seems like a humble hermit’s hut, but one nevertheless senses that everything in it has been carefully designed. Crawling through the official entrance, the nijiri-guchi, a small sliding door about cm x cm in size, one enters a tiny space. Often this space is only two tatami mats in size, the materials used inside all being left in their natural slate: wooden pillars, earth walls, bamboo ceilings and paper windows. There is no view of the garden. Attention is thus focused on the host, the sound of boiling water, the taste of the tea and on the people themselves. De Mente, :

 

Futhermore in art and design, two other elements that are often associated with sabi objects are asymmetry and austerity. Kakuzo Okakura :, the Japanese tea master, labelled this asymmetry beauty as ‘the art of imperfection’. In Japanese painting, one often notice that the representation of the likeness, or nise-e, of objects and places wasn’t the goal of most Japanese painters nor their clientele De Mente, : . Instead Japanese painters depicted subjects like, buildings and mountains from previous observations and other recollections with little care as to its likeness but rather its ability to capture the character and spirit of the object. Surprises are achieved by the unbalanced by the apparent randomness of things that allows the observer to complete the image.

 

Building on the premise, put forward for the first time, that the fundamental key to understanding Ando’s capacity for abstract regionalism must be found in wabi-sabi aesthetics, this chapter seeks to identify the traits of wabi-sabi in Ando’s works.

 

本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。