Japanese writers are very sensitive to beauty.
This can even be said to be a tradition.
When Kawabata Yasunari won the literature award in 1968, his speech was called “I’m in beautiful Japan”.
In fact, it can also be changed to “I’m in beautiful Japan”.
In this speech, he not only talked about the beauty of nature, It also praises the impact of beauty on the human mind: “When I see the beauty of snow and the beauty of the moon, that is, the beauty of the four seasons, and when I am happy because of that beauty, I will eagerly miss my close friends and hope they can share this happiness together.
That is to say, the touch of beauty strongly induces people’s nostalgia.
This’ friend ‘can also be regarded as A wide range of ‘people’.
” Japanese writers do have a tendency to be addicted to beauty.
It seems that they create purely for the purpose of pursuing or retaining beauty.
In their mind, beauty is by no means an abstract concept, but simply constitutes the meaning of life.
In other words, beautiful things themselves are perishable, but their appeal is far-reaching.
Kawabata Yasunari’s so-called “beauty” is not limited to the beauty of scenery and customs in Japan, but also touches the beauty of human nature and human feelings.
This is tantamount to declaring that Japan is a nation that loves beauty, and beauty is the true religion of this nation.
“Japan has absorbed Chinese culture and then well integrated into Japanese style.
About a thousand years ago, it produced a splendid Ping’an Dynasty culture and formed the beauty of Japan, just as the blooming ‘rare rattan flowers’ give a strange feeling outside the personality.
” This belief in beauty has a long history, so Japanese literature and culture always give people the feeling of classical beauty – even the piety of their ancestors has been inherited.
Japanese writers treat beauty as a divinity on earth.
Beauty not only affects their attitude towards life, but also permeates their concept of life and death.
Yukio Mishima is an extreme example.
Death can also give birth to a strange beauty in its eyes.
He wrote a beautiful death: “The ideal of the ancient Greeks was to be beautiful both in life and death.
Our ideal of Bushido is undoubtedly here.
However, in the difficult situation of modern Japan, it is difficult to be beautiful, and it is even more difficult to be beautiful in death.
The reason why Samurai are respected is that people at least think that Samurai have a brave and beautiful way of death.
” He seems to think that the pursuit of the beauty of death is the driving force of courage, which can at least offset the widespread fear of death.
Mishima himself advocates the aesthetic thought of ancient Greece and often compares it with the United States and Canada in Japan: “the Greeks believe in the immortality of beauty.
They carve the complete beauty of the human body on stone.
Whether the Japanese believe in the immortality of beauty? This is a question.
They worry that one day the specific beauty will die like the body, always imitating the image of dead emptiness.
” The three islands may feel that the classical beauty of Greece is closer to themselves.
At the age of 45, in order to call for the revival of bushido spirit, he committed suicide by caesarean section, which was not only the practice of “beautiful death”, but also hoped to achieve the immortality of spirit.
A scholar died in the way of a warrior.
Although some right-wing nationalists regard him as a hero, most people think he has fallen into the strange circle of beauty – he not only uses life, but also attempts to use death to create “cruel beauty”.
Looking through Yukio Mishima’s anthology, you will find that he uses the word “beauty” much more frequently than other writers.
In the novel forbidden color, there are such sentences about beauty: “life in despair is beauty”, “subtle evil is more beautiful than coarse and miscellaneous good”.
It can be seen that the beauty he believes in is both retro (ancient Greek perfect beauty and harmonious beauty) and rebellious (even there are signs of formalists).
It is both spiritual and physical.
Some people say that he “challenges the spirit based on the body”.
He is indeed one of the most openly publicized writers of physical beauty: “The human body is as beautiful as an airplane or a car.
Women are as beautiful as men.
However, the difference in the nature of their beauty lies entirely in the difference in function.
The beauty of an airplane is all about flight performance, and so is a car.
However, the reason why the human body is beautiful is because the human bodies of men and women are divorced from the functions given to them by nature, or because of civilization Progress no longer needs this function.
Female beauty is painting, while male beauty is carving.
” Does his preference for male beauty also lead to his own homosexuality? Of course, it can also be said that the beauty of the human body in his eyes is gender neutral.
He was only bewitched by the beauty of the human body.
Kawabata Yasunari was born in 1899 and died in 1972.
Yukio Mishima was born in 1925 and died in 1970.
They basically belong to the same era, but there are some differences in the beauty they believe in: Kawabata tends to appreciate the beauty of life and soul, while Sandao appreciates the beauty of death and body.
Kawabata’s aesthetic view is more traditional, while Mishima gives people a sense of heresy.
Although they all ended their lives by suicide, they also took different ways: Kawabata had a gas pipe in its mouth and Mishima had a caesarean section.
I can only say that they look at the same things and the same world from the perspective of literati and warriors, but they have different aesthetic feelings.
If Mishima pursues the tyrant style “cruel beauty”, Kawabata is obsessed with the good people style “gentle beauty” – the way of love can be different, but the love itself is the same.
This is like the beauty of life and death of wine and poison.
They are not the only ones who are drunk.
This kind of beauty, or Japanese style beauty, can be found in a series of writers, such as Natsume Soseki (whose head is printed on Yen notes), Tanizaki runichiro (who once praised the aesthetics of shade), Ryunosuke Akutagawa (he has a pair of “dying eyes” like Kawabata and Mishima).
It was not until Kenzaburo Oe appeared that this beauty began to become ambiguous.
His speech when he won the Nobel Prize for literature in 1994 (26 years away from Kawabata Yasunari) was called “I am in a warm and ignorant Japan”: “as a person living in this era and a memory marked with pain by such history, I can’t shout ‘I of beautiful Japan’ with Kawabata.
I can only express it with ‘I of warm and ignorant Japan’.
” Does this mean that Japan’s classical beauty has died with the intensifying process of modernization?.