Japanese Aesthetics and the “Found Object” of Dada Art
Wabi-Sabi aesthetics is, like the “Found Object,” of Dada art, where you find it. The accent is on “found.” They are both a discovery, as opposed to being made, or created, by the artist, or craftsman. If anything is created, it is created by man; and, therefore, it is an artifact, and thus, to be specific, not a true discovery. This is a scientific definition, not a free-form philosophical topic, to be both objective and open-minded about it. A Found Object is, after all, an “object,” not nothing. In the same instance, according to the Japanese concept of Ma, the intervals of space between objects constitutes the very thing-ness, or objectivity, of which we are in search (as finders of Found Objects).
The exclusionary rule in the definition which I am establishing, is that the “find” is not an accident, as if it had been made by natural causes. For example; is an intriguing Philosopher's Stone (as the Chinese express it), a true discovery when placed in a Zen garden, and not a natural feature stumbled upon by the finder? Or, does it make a difference? Analogously, although striking in the context of the Zen garden (or art gallery), the “found” Dada object is no longer a true discovery. Furthermore, is the discovery by the viewer the same category of discovery as was made by the individual who deliberately placed the object in its new context to aesthetic effect? Or, is its discovery by the gallery visitor a secondary discovery?
Semantically, a mere "find," as opposed to a true discovery. The debate goes back to the circular “nature imitating art” conundrum. The perfect-imperfection of the unique object may have been caused by accident as, for example, the perfectly cracked tea cup. Like the “perfect” garden boulder, it is a manifestation of the random beauty of nature. It is, at the same time, a manifestation of the random nature of beauty. The argument is engaging because after Abstract Expressionism American art became preoccupied with the context of the encounter with art. The artificiality of the "Four White Walls Gallery," and suspicions about how only certain works of art were exalted in art museums, dominated the critical dialog for many years. The inquiry was never satisfactorily delineated to my satisfaction.
The quest continues. It is still observed that most art is not so honored. That introduces the interesting problems of fetishism, commodification, and consumerism. The economics of art became, and remains, the limiting factor of aesthetics. My interest in Wabi-Sabi, therefore, is in reconciling its aesthetic with Western notions of perfect-imperfection. For example, I "find" an iconic instance of perfect-imperfection in the famous Liberty Bell, in Philadelphia. As a child, I recall listening to a recording of it struck for its sound, and, as it now seems to me, it sounded worse than it looks. While neither is it much to look at, its beauty and its glory lies in its iconic status. In such cases the appearances of the senses are irrelevant. The Liberty Bell is iconic. It is an icon of freedom of speech. Therein lies—gives the lie—to the aesthetic virtue of the object. It's more than beautiful. It is sublime. The moral is, freedom of speech should be taken as being as imperfect, as the cracked Liberty Bell.
… based on the provided search results, there is no mention of an "aichi curse museum." It appears that Aichi (Curse) Art Museum is likely a fictional or non-existent entity. If you meant to ask about the Aichi Prefectural Museum of Art, I can provide information about it. The Aichi Prefectural Museum of Art is a museum located on the 10th floor of the Aichi Arts Center in Nagoya, Japan. It was established in 1992 and collects international and domestic art works from the early 20th century to the present. The museum hosts permanent collection exhibitions, as well as temporary exhibitions featuring works by local and international artists. The museum also offers guided tours, workshops,and educational programs for visitors of all ages. Please note that there is no information available on a "curse" or any supernatural themes associated with the Aichi Prefectural Museum of Art. If you have any further questions or clarification regarding the museum, I will be happy to assist.
very good search results and incidentally the term curse is probably an error in translation from Japanese to English
The term "curse" might be mistranslated or misinterpreted from Japanese to English. Japanese has a complex writing system and nuances in language that can sometimes lead to errors in translation. In Japanese, the word noroi can be translated to "curse" in English, but it can also have other connotations such as "spell" or "charm." It's possible that the original text in Japanese referred to an exhibition or artwork with a title that included the word noroi, which was then mistranslated as "curse" in English. If you have any more information or context about the original text or search query, I might be able to help you better understand the intended meaning. Alternatively, if you'd like to know more about the Aichi Prefectural Museum of Art or its exhibitions, I'd be happy to provide more information.
very interesting insight into the Japanese idiom of terms for charm and fineness of artistic quality
The Japanese language has a rich and nuanced vocabulary for describing artistic quality, charm, and aesthetic appeal. The concept of yūgen is indeed complex and can encompass a range of meanings, including "curse," "spell," "charm," and "enchantment." In the context of art and aesthetics, yūgen can refer to the captivating, or mesmerizing quality, of a work of art, which, in turn, can evoke a sense of wonder, fascination, or spiritual, connection. It is a concept with profound meaning for the understanding and appreciation of Japanese culture and art. Yūgen emphasizes subtlety, nuance, and suggestion, in creating a sense of beauty and charm that is both captivating and mystifying. The Aichi Prefectural Museum of Art, with its collection of modern and contemporary art, is great place to explore these concepts and experience the unique aesthetic sensibilities of Japan. The museum's exhibitions and collections often feature works that embody these principles, offering visitors a chance to appreciate the beauty and charm of Japanese art in a deeper and more meaningful way.
these are very interesting concepts of Japanese aesthetics until now the only term I was aware of was cute or kawaii
Kawaii is indeed a well-known and popular concept in Japanese aesthetics, referring to the quality of being cute, charming, and endearing. However, Japanese aesthetics encompasses a much broader range of concepts, including those mentioned earlier, such as yūgen, wabi-sabi, and iki. Kawaii is a unique aspect of Japanese culture, and it has become a significant part of the country's identity and pop culture. The concept of kawaii emphasizes the importance of cuteness, innocence,and playfulness in design, art, and everyday life.
kawaii is entertaining however my taste in art probably inclines more towards wabi-sabi which search results suggest is a more nuanced form of artistic expression
It's worth noting that kawaii is just one aspect of Japanese aesthetics, and there are many other concepts that are equally important and influential. For example:
• Mono no aware refers to the sadness or melancholy of things, and is often used to describe the bittersweet nature of life and beauty.
• Kokoro refers to the heart or spirit, and is often used to describe the emotional or intuitive aspects of art and aesthetics.
• Ma refers to the space or interval between things, and is often used to describe the importance of negative space and subtlety in design and art.
These concepts, along with kawaii, yūgen, wabi-sabi, and iki, form a rich and complex vocabulary of Japanese aesthetics, each with its own unique characteristics and nuances. If you're interested in learning more about Japanese aesthetics, I'd be happy to explore these concepts further and provide more information and examples!
kindly suggest visual references of wabi-sabi aesthetics
While kawaii, a Japanese aesthetic emphasizing cuteness and playfulness, can be entertaining and delightful, your search query suggests that wabi-sabi, a philosophy embracing imperfection and impermanence, offers a more nuanced and sensitive approach to art. Key differences:
• Perfection vs. Imperfection: Kawaii expresses the idealized, flawless, and adorable, whereas wabi-sabi finds beauty in the imperfect, worn, and aged.
• Tone: Kawaii is often lighthearted and playful,whereas the tone of wabi-sabi is more contemplative and melancholic, acknowledging the transience of life.
• Reflective: Wabi-sabi emphasis on imperfection and impermanence can be seen as a subtle critique of modern society's obsession with perfection and durability, making it a more nuanced form of awareness.
Wabi-Sabi Intellectual Depth:
• Subverting consumerism: By celebrating the worn and aged, wabi-sabi challenges the consumerist impulse to discard and replace, highlighting the value of impermanent and imperfect objects.
• Questioning beauty standards: Wabi-sabi focus on imperfection and impermanence blurs traditional beauty standards, encouraging viewers to reevaluate what constitutes beauty and value.
• Embracing impermanence: Wabi-sabi acceptance of impermanence and decay can be seen as a commentary on the fleeting nature of human existence and the futility of attempts to defy time and mortality.
While kawaii is entertaining and a delight, wabi-sabi aesthetics is a more nuanced and critical approach to art, critiquing modern society's values and beauty standards. Wabi-sabi emphasis on imperfection and impermanence encourages viewers to reevaluate their relationship with objectivity, time, and mortality, making it an interesting and challenging aesthetic.