在西方介紹日本的節(jié)目中，這是我看過(guò)的最好的。期待小狐貍有更多機(jī)會(huì)展開(kāi)說(shuō)他對(duì)日本的感覺(jué)。

第一遍刷先放點(diǎn)兒截圖。

看動(dòng)作是真喜歡日本文化

扇子上的俳句

哈哈哈，喜歡這么幽默含蓄地解說(shuō)方式。覺(jué)得好像臉紅了。

“也許是畫家的目光穿過(guò)幾百年看著我們”，好浪漫。

不過(guò)他說(shuō)雪舟的時(shí)候我有點(diǎn)不服，這張玉澗是13世紀(jì)的。

雪舟的也放一下吧

看過(guò)幾個(gè)美術(shù)館的北齋，這張色彩是真美。瓷器一樣的色澤。

無(wú)需語(yǔ)言

卡哇伊

蟬在日本文化中的死亡象征

Japan, a country of aesthetics, maintains the capacity to bring various things in life as a form of art.

Nature

Shinto attitude towards nature

Shinto is polytheistic and revolves around the kami ("gods" or "spirits"), supernatural entities believed to inhabit all things.

Buddhism Zen

Japanese rock garden (枯山水)

Painting

o Sesshū Tōyō (雪舟等楊; 1420 –1506) was the most prominent Japanese master of ink and wash painting from the middle Muromachi period.

雪舟（1420－1506）是一位日本室町時(shí)代水墨畫畫家，出生于備中國(guó)赤濱（今 岡山縣總社市）。原為相國(guó)寺僧人，可能其間向同寺僧人學(xué)到了一些繪畫技巧。其早期繪畫主要是關(guān)于宗教人物，后來(lái)廣泛取法中國(guó)唐宋元的繪畫，1464年離開(kāi)相國(guó)寺。1467年終于有機(jī)會(huì)搭乘明日貿(mào)易的船只訪問(wèn)大明王朝?！端募旧剿嫛肪褪撬L華期間完成。1502年的《天橋立圖》則是他藝術(shù)成就的巔峰。他在將水墨畫注入民族情感方面有開(kāi)拓性貢獻(xiàn)，影響了雪村周繼等后繼者。

o Ogata Kōrin (尾形光琳; 1658 – 1716) was a Japanese painter, lacquerer and designer of the Rinpa school.

尾形光琳（1658－1716），日本江戶時(shí)代的男性畫家、工藝美術(shù)家，琳派代表人物之一。畫風(fēng)以大和繪風(fēng)為基調(diào)，晩年也有水墨畫的作品。大畫面的屏風(fēng)之外，也有香包、扇面、團(tuán)扇等小型作品和手繪的小袖、蒔繪等作品。

Bonsai (盆栽)

Cities

Miyabi (雅) is one of the traditional Japanese aesthetic ideals, though not as prevalent as Iki or Wabi-sabi. In modern Japanese, the word is usually translated as "elegance," "refinement," or "courtliness" and sometimes to a "sweet loved one".

In traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete".

Kyoto – beauty and elegance

· Murasaki Shikibu, The Tale of Genji

· tea as an art form

· Japanese tea ceremony

o express the appreciation of modesty, imperfection and impermanence

o a way to bring nature to the city

o Sen no Rikyū (千利休, 1522 –1591), also known simply as Rikyū, is considered the historical figure with the most profound influence on chanoyu, the Japanese "Way of Tea", particularly the tradition of wabi-cha.

千利休所創(chuàng)“侘”茶的茶道美學(xué)影響了許多方面，草庵茶更是引領(lǐng)日本茶道走向禪宗美學(xué)“本來(lái)無(wú)一物”的境界，并且由崇尚華貴“唐物”的審美過(guò)渡到遒勁枯高的本土化審美。在這種主張的影響下，日本茶道使用的茶碗發(fā)生了很大的變化，日本本土燒造的“樂(lè)燒”及朝鮮茶碗漸漸成為主流。

“茶碗”是最重要的茶具，品茶人都非常重視。“唐津燒”、“薩摩燒”、“相馬燒”、“仁清燒”，尤其是“樂(lè)燒”等制品都非常適用于茶道。品茶人特別珍重“樂(lè)燒”，豐臣秀吉甚至用金印賜予制作者河米屋(朝鮮人)的兒子長(zhǎng)次郎，特許他可以在瓷器上印有“樂(lè)”字，這是豐臣秀吉宅邸名稱“聚樂(lè)”的第二個(gè)字?！皹?lè)燒”茶碗的構(gòu)造非常適于飲茶：碗上涂有一層海綿狀的厚糊，不易傳熱；粗糙的表面，易于把握；微微內(nèi)卷的邊沿，可防外溢；涂釉光滑，唇感舒適，且依然能使綠茶的泡沫就像在黑色粗瓷碗中那樣明晰。

It is an artwork to be felt, to be touched, to be used, the texture, the weighting, the temperature, like you could feel the fingers of Chōjirō (長(zhǎng)次郎, 1516–?1592) after 400 years.

Edo 江戶 Ukiyo-e (浮世), “floating world” – mysterious voice

· Kabuki (歌舞伎)

First performed by all female cast, later replaced by men performing both male and female roles

· Ukiyo-e woodblock printing

o Edo period – full-color printing for the first time

o Three roles: illustrator, wood carver, and printer

o Kitagawa Utamaro (喜多川歌麿mǒ; c. 1753 – 1806) was a Japanese artist. He is one of the most highly regarded designers of ukiyo-e woodblock prints and paintings, and is best known for his bijin ōkubi-e "large-headed pictures of beautiful women" of the 1790s. He also produced nature studies, particularly illustrated books of insects.

A third of his works are the city’s sex works in the red-light district.

The Pome of the Pillow 春畫 shunga

series of city views

transported to Europe and shaped the form of modern art

Tokyo – turned the destruction into creation

street photograph

animation film (Akira WWII)

design – urban aesthetics

Yayoi Kusama (草間彌生; 1929 - )

“infinity room” infinite metropolis glittering away into the night

Japan’s urban imagination

They all together build up a country blatantly searches for itself.

art in man life, the artfulness of people, Japan, a civilization of several thousands years, cares profundly the details, about getting the little things right...

Oh, I LOVE DR. JAMES FOX, his accent, the soft-spoken rhythm and most esssentially, his extraordinary writing!

四星給主持人的口音 畫面很美拍攝加分 音樂(lè)是老外所理解的日本 雖然也好聽(tīng)

第一篇nature 說(shuō)書畫屏風(fēng) 都是一年里只給展出幾天的頂級(jí)國(guó)寶 雪舟的破墨山水解釋很久 團(tuán)隊(duì)完全不理解這畫 說(shuō)的好像又很懂 其實(shí)日本人自己都不懂 專業(yè)做書畫的 個(gè)人喜好不同 理解都不一樣 BBC上來(lái)就用這畫立意太高 普通人接觸不到 長(zhǎng)谷川等伯的松林屏風(fēng)都是國(guó)寶 尾形光琳的鳶尾花園屏風(fēng)一年只能出來(lái)見(jiàn)幾日陽(yáng)光 一般看不到 我理解的藝術(shù)生活 是生活處處可以藝術(shù) 而不是無(wú)法觸及 太高的東西 明白要說(shuō)就說(shuō)最貴的最國(guó)寶才能服眾 同時(shí)也意味這些東西和大眾相去甚遠(yuǎn)

三部看完感覺(jué)就好像去上海旅游三件套 陸家嘴外灘城隍廟 只說(shuō)最出名的 卻并不理解其內(nèi)涵 凡事只要套上一個(gè)禪字 好像就能解釋一切 你問(wèn)日本人禪是什么意思 有多少人能說(shuō)明白呢 少之又少 整篇形式大于內(nèi)容

第三篇home 舉的例子過(guò)于極端 狹小局促的家跟垃圾堆一樣雖然也有 但不是所有普通人家都這樣 家里連個(gè)能踩腳的地方也沒(méi)有 墻上掛滿衣服 BBC想諷刺無(wú)印良品的廣告 日本對(duì)外宣傳意識(shí)形態(tài)和真實(shí)生活完全背道而馳 沒(méi)有禪意 還假借肥膩編年史家之口說(shuō)有錢人的生活很無(wú)趣 誰(shuí)愿意把家住成垃圾堆.. 過(guò)剩的商品 無(wú)法倒退的現(xiàn)代生活把大自然越推越遠(yuǎn)是一方面 但也過(guò)于片面 東京優(yōu)雅纖細(xì) 精致也壓抑 無(wú)論商家還是家庭 男性女性 外觀多是精心打扮 漂亮清爽的 綠植辦公樓里的綠化墻商場(chǎng)頂樓花園 被照顧得很好的大型樹(shù)木盆栽 季節(jié)性各色花朵 處處都是 雖然變成了點(diǎn)綴而不是融入自然 和紀(jì)錄片里水泥縫里長(zhǎng)出來(lái)的蒲公英 一個(gè)天一個(gè)地 最后用住在長(zhǎng)野的藤森來(lái)回歸自然 也是牽強(qiáng) 人在自己家鄉(xiāng)做出從小夢(mèng)想的房子 不是什么回歸 況且這位的行為也是相當(dāng)另類了 日本人看了都極其不屑 我倒覺(jué)得很天真 讓住慣超級(jí)都市的人回到自然 才是真的回歸 可兩邊都住過(guò)的人才知道有多不方便 買什么都沒(méi)有 要什么都沒(méi) 而東京又是個(gè)讓人物欲爆發(fā)的地方 只有你想不到 沒(méi)有他們做不到 為什么這個(gè)國(guó)家的年輕人都要去東京闖蕩是有原因的 因?yàn)猷l(xiāng)下只有景色和老人

但我還是喜歡這部的影像聲音 配樂(lè)和質(zhì)感 盡管沒(méi)說(shuō)什么日本生活中的藝術(shù)

Japan is a society that has the capacity to turn everything into Art - not just the gardens and sculptures, but the way you drink tea, or the way you look at cherry blossom.

(*林語(yǔ)堂 《生活的藝術(shù)》*李漁《閑情偶寄》)

【E01. Nature】

Shinto 神道教

-believes the world is inhabited by spirits known as Kami (神) all around us,

-Netsuke (掛墜): nothing in nature is too small to deserve our respect

-we can be incarnated into anything: wind, rock, water…

Zen 禪

-apart from meditation, also put emphasis on practical tasks such as tidying the garden, cooking, etc

Splashed Ink Brush Painting 潑墨山水畫

-an aesthetic that prefers ambiguity to clarity, absence to presence, and the hazy mysteries of nature

-emptiness/留白 as a visual metaphor for the silence of Zen meditation

Dry Landscape (枯山水)

-you can never see the complete set of stones, a reminder of human imperfection that one mind can never understand everything

-just like the paintings, garden is a blank canvas that enables the mind to wander in any direction it pleases

-"The answer isn't important, but the search for understanding. That's why we value the unknowable and the mysterious."

-You can't understand Japanese culture until you begin to embrace the beauty of mystery.

Bonsai

-a desire to capture a fragment of nature around us as decoration

-Goyamatsu: 500 y/o as Michealangelo's David. A paradox of creation both by human and nature.

Cherry Blossom

-fleeting beauty/cycle of life

-It is celebrated because of its transience. It is beautiful precisely because it does not last.

Seasons

-explicit

-a measurement of time, naturally and humanly

Mount Fuji

-its silhouette alone has become a metonym(轉(zhuǎn)喻) for and entire culture

Thoroughness 徹底性

Naoshima 直島

Hiroshi Sugimoto 杉本博司 - 海景\重復(fù)構(gòu)圖\極致\與古遠(yuǎn)的聯(lián)結(jié)

And his shrine

"We've destroyed so much of nature, now it is a turning point-to think about how to live with nature."

【E02. Cities】

The constant flow of disasters have forced the Japanese to rebuild and reimagine their cities, turning them into one of the most dynamic in the world.

1.)Kyoto

-Inspired by Chang'an, every part of it carefully planned.

-In Kyoto, "style" was emphatically substance.

-Myabi (雅) 作為這座城市的核心美學(xué)

Sen no Rikyo (千力休) turned tea drinking into an art form.

-tea as revelation, elevating ppl's conciousness

-a ceremony to express modesty, imperfection and impermanence (無(wú)常)

-seeking an alternative of utensils, simple and undecorated: Raku pottery 樂(lè)燒, an art work to be held, touched, felt and used.

-Wabi-Sabi: the Japanese reverence for the imperfect, the unfinished, the worn-out

2.)Edo

-"Ukiyo", the pleasure district, the floating world, wasn't only a physical place, but also a state of mind.

"Living only for the moment,

turning our full attention to the pleasures of the moon, the snow, the cherry blossoms and the maple leaves,

singing songs, drinking wine,

diverting ourselves and just floating, floating,

caring not a whit for the pauperism,

staring us in the face,

Refusing to be disheartened,

Like a gourd floating along with the river current -

This is what we call the 'floating world'."

-Kabuki (歌舞伎)

-People's passion and enthusiasm for life reached a peakin the Edo period.

Wood Block Printing 木刻版畫. illustrator + carver + painter

Ukiyo-e 浮世繪, pictures of the floating world

-Kitagawa Utamro: 1/3 works fascination of women at redlight districts

-The Poem of the Pillow, 1788

"Its beak caught firmly in the clam shell, the snipe cannot escape of an autumn evening."

The nape of her neck was considered more sexual than the genital

-Shunga (春畫): spring pictures

-Hiroshige 歌川広重

They established the basis of a new visual grammar: bold, graphic, and economical, which later influenced the western modern art.

3.)Tokyo

-Rebranded from Edo, a new identity and new name.

Akasaka Palace: An attempt to represent Japan as a European power, a brazen act of cultural appropriation

Golden Gai: "an arena of human desires, a labyrinth, a myth"

Moriyama Daido 森山大道:

-father of street photography in Japan

-captures the rootless and hedonistic inhabitants in Tokyo's underbelly

-"An unkepmt stray dog glances at the photographer in the winter sunshine, a proxy for Moriyama himself - a loner scavenging the streets for scraps. It's also a symbol of Japan - a country that hadn't yet found its identity in the turbulence of the 20th century."

"We are used to recovery here. Just as trees grow back, life goes in a circle. Maybe it's in our spiritual make-up."

【E03. Families】

Carpentry

-In the case of the way of using tools, we pull, you (europeans) push. We care for the others.

-Your architects go against nature, we co-exist with it. We thought of ourselves living under a great tree-that's our attitude toward architecture.

-Respect is a cornerstone of his philosophy.

-spirit of shokunin 職人/匠人，absolute concrentration & precision on the work at his hands

"Ma" 間

-the negative space in between, the interval, the pause, the void, is just as full as what's surrounding it

”Length of time depends upon our ideas.

Size of space hangs upon our sentiments.

For one whose mind is free from care,

A day will outlast the millennium.

For one whose heart is large,

A tiny room is as the space between heaven and earth.” --菜根譚

Houses

-open-plan living, minimalist interiors, clean simple lines

-modernist architecture of hundred years old

-tokonoma 壁龕, heart of the home : a scroll of calligraphy+ ikebana

Ikebana: a domestic art, a highly personal expression.

-"It's about arranging the space around them (flowers).

Seasons are changing. Through Ikebana we learnt it's the same with humans: to be alive means constant change."

Shodo 書道

-守，破，離: to learn, to break away, to transcend

Zenimalism: Zen+Minimalism

-a trademark of contemporary JP architects, a major national style of architecture

-Tadao Ando 安藤忠雄

-Toyo Ito伊東豐雄

-Kengo Kuma 隈研吾

-though it started with the rich, commercial brands like MUJI packaged and launched it to the mass market.

Mujirushi = no brand

-Image is what MUJI is all about

-a pack of "stones": an epitome of the tradition and stories behind

The artfulness of people.

There's a precision and elegance in so much of what they do.

A culture caring profoundly about details, about getting little things right. That's why even in the most ordinary places, beauty can be found.

自然是日本文化的底色，神道教的簡(jiǎn)約美學(xué)深藏在自然之中，咆哮的瀑布和低吟的唱誦，人在天地自然中體會(huì)自己的渺小，哪怕渺小如蟬也是自然中重要的存在，巖石是人類的祖先。深淺不一的潑墨是雪舟筆下的山水，寒冷潮濕的空氣從畫幅中氤氳而出，凝視深思，風(fēng)景自然浮現(xiàn)?？萆剿休d著另一種自然崇拜，十五塊巖石意示著自然的圓滿，但人眼卻始終無(wú)從飽覽到全貌，世界的意義無(wú)法破譯，空白與神秘是東方的色彩?；囊白匀坏膴W秘同樣被剪裁在盆景中，三五百年的植物生命是比人類更為崇高的圣靈般存在，扭轉(zhuǎn)的肌肉、咆哮的海浪，扭曲的枝椏是自然不可馴服的暗喻。

“茫茫不見(jiàn)富士，妙趣深藏霧中”。近乎完美的對(duì)稱輪廓在神秘迷霧中成為日本文化的隱喻，葛飾北齋的名字又一次被提及，富岳三十六景時(shí)隔許久再看仍然給人許多感動(dòng)，人類被巨浪襲卷，微不足道卻永不屈服。

工業(yè)發(fā)展和環(huán)境變化之間的矛盾張力讓現(xiàn)代日本藝術(shù)家生成一種反思意識(shí)，快速發(fā)展的社會(huì)下日本茶道和園藝的慢動(dòng)作顯得彌足珍貴。古老神道教對(duì)自然的珍視是希望的根基，杉本博司的黑白圖像存儲(chǔ)著關(guān)乎海洋的起源，護(hù)王神社的新奇結(jié)構(gòu)出乎意料又似乎是史前自然的古老原生，如何和自然共存又一次成為現(xiàn)代社會(huì)的命題作文。

戰(zhàn)爭(zhēng)、地震、洪水、海嘯，自然和人為的災(zāi)難一遍遍重創(chuàng)這個(gè)國(guó)家，城市在千百年間的毀滅中數(shù)次重生。

京都是精心設(shè)計(jì)的藝術(shù)品，是烏托邦的藍(lán)圖，1600座寺廟和400座神龕是最為神圣的裝飾，和平與安寧之都蘊(yùn)含著miyabi式的東方美學(xué)，紫式部的《源氏物語(yǔ)》是千年之前復(fù)雜故事也是人類永恒不變的關(guān)于愛(ài)與恨、嫉妒與釋懷的角力。茶道在日本被賦予不同于中國(guó)的獨(dú)特意義，研磨、敲打、瓷器的選擇，一招一式的比劃不是刻板的章法，而是深入意識(shí)層面的修煉。粗糙骯臟的粘土在匠人的打磨下成為精美的茶具， 剛好的重量、質(zhì)地、溫度，茶碗是wabi-sabi的縮影，不完美之處恰是最值得被欣賞與感恩的部分。

江戶在德川幕府時(shí)期崛起，漁村在邁向現(xiàn)代化的百年間經(jīng)受了數(shù)次火災(zāi)，嚴(yán)格的社會(huì)等級(jí)制度塑造著城市紀(jì)律和節(jié)儉的品性，但主流的文化卻在地下孕育。ukiyo成為日本的精神狀態(tài)，隨波逐流、擁抱當(dāng)下的享樂(lè)主義造就了日本的歌舞伎文化，嘈雜、混亂、騷動(dòng)，短暫的放肆和逃離。這時(shí)期的浮世繪轉(zhuǎn)向一種新的視覺(jué)與法，北川宇之丸留下一列 隱晦的作品便消失在江戶時(shí)期的霓虹中，水面與海岸同樣是木版畫的主題，又隨著東西方的貿(mào)易往來(lái)成為現(xiàn)代藝術(shù)的源頭。

傳統(tǒng)的日本社會(huì)無(wú)法阻擋西方的工業(yè)入侵，江戶改名為東京，巴洛克風(fēng)格的建筑出現(xiàn)在城市的街道，復(fù)制版的白金漢宮塑造著日本關(guān)于歐洲強(qiáng)國(guó)的想象，直到地震和戰(zhàn)爭(zhēng)將城市摧毀，重新?lián)肀КF(xiàn)代性的決心將日本推向快速發(fā)展的列車，金蓋成為新時(shí)代的浮世。新宿是東京的下腹部，模糊的無(wú)法辨認(rèn)的影像是藝術(shù)家關(guān)于日本社會(huì)含混不清復(fù)雜處境的描述，世紀(jì)動(dòng)蕩后城市重建飛奔，但過(guò)往的文化與藝術(shù)卻不足以支撐起國(guó)家的身份認(rèn)同，《阿吉拉》的大爆炸場(chǎng)景，《螢火蟲之墓》的戰(zhàn)爭(zhēng)描摹，反烏托邦的記憶與想象是無(wú)法抹去的傷痛。而破壞卻孕育創(chuàng)造，在現(xiàn)代時(shí)尚產(chǎn)業(yè)與城市美學(xué)中，草間彌生的藝術(shù)重新抓住時(shí)代精神，走進(jìn)鏡子裝置猶如掉入萬(wàn)花筒，室內(nèi)閃爍的星系是夜晚繁榮的城市，動(dòng)態(tài)和復(fù)雜成為日本的城市想象。

現(xiàn)代日式家庭生活的美學(xué)藝術(shù)是古老傳統(tǒng)的再造。家具木材是shokunin精神的載體，在極其寂靜的環(huán)境中測(cè)量、打磨，精確、專注的民族品格在古老手工傳統(tǒng)的傳承中被打磨塑造，低矮的木質(zhì)庭院是禪宗美學(xué)的外化，榻榻米和稻草墊承載著ma的精神，打造出日本獨(dú)有的負(fù)空間，沉默和空白同樣是意義的體現(xiàn)，簡(jiǎn)約干凈的線條成為現(xiàn)代主義的追隨。唯有tokonoma是家庭空間濃墨重彩的裝飾，插花時(shí)至如今已經(jīng)不再作為宗教性的含義，而是作為個(gè)人化的難以描述的情緒表達(dá)被陳列，美學(xué)奇跡在花瓶中被創(chuàng)造，枝椏之間是四季在交疊。tokonoma不自覺(jué)地創(chuàng)造出冥想的空間，瑞穗水是生命的起源，視覺(jué)的和諧在不同的色彩間、在不同曲度線條的交錯(cuò)中，正與負(fù)的空間中是植物帶來(lái)對(duì)生命的反思。懸掛卷軸上的書法是千年不變的筆畫，大尺幅的創(chuàng)作過(guò)程何嘗不是生命在起舞。

現(xiàn)代社會(huì)變化的過(guò)程中如何保留文化遺產(chǎn)，雜亂城市中新型的美學(xué)商業(yè)發(fā)展，禪宗美學(xué)成為無(wú)印良品的品牌內(nèi)核，但真正的當(dāng)代日本生活卻狹窄混亂，經(jīng)典美學(xué)和態(tài)度在現(xiàn)實(shí)中飽受捶打，東京年輕人面臨狹小空間中如何獲得空間與自由的困惑，建筑師在鄉(xiāng)野間建設(shè)出漂浮于空中的茶館給出答案，自然生長(zhǎng)的草木重新喚回史前的粗野，無(wú)關(guān)乎極簡(jiǎn)主義或是現(xiàn)代主義的表述，熟悉的周遭風(fēng)景與童年記憶才是避風(fēng)港的全部支撐。