Looking first at the book itself and not the actual content inside, it is a very attractive book. Smooth, easy to the eyes, enticing, and yet not too complicated—a simplistic beauty. A white cover, Japanese characters, a translucent jacket around the hardback cover, and the title: Silence and Beauty. As an individual who enjoys aesthetics and Japanese culture, it was the hardback cover, jacket, and Japanese characters that attracted the initial attention. The cover depicts a traditional Japanese style, a simplistic beauty that emphasizes a natural brilliance that is not too flashy nor gaudy. Just by design, the cover reflects how there can be many good things taken from something that you would least expect. Like simple, humble Japanese art …show more content…
He describes this encounter as “pulverizing,” as in Silence, 17th century Christians were essentially persecuted in Japan. One key shaming act was having Christians walk over bronze images of either the virgin Mary or the crucified Christ. As a Christian, these acts would feel blasphemous, but as an individual under heavy rejection and oppression, those very same acts may feel like easy actions that would be a temporary savior from the intense scrutiny. It is in stories like these that may thoughts that question God’s silence despite the suffering of His people. As a result of these actions, these bronze images, known as fumi-e, were considered as symbols of …show more content…
There were some that were able to change them into symbols of hope instead, as symbols to persevere for the sake of the end goal of staying faithful. Similarly, people who betray the expectations of a strong Christian are considered failures and “betrayers of faith,” those who essentially save their hides in order to survive. But in the end, as long as they live on, those who were considered betrayers live long enough to have a chance to turn their lives around. Fujimura encourages the reader to not categorize faith into victory or failure, as one would do so when considering people to be failures for betraying their inner beliefs. It is quite possible those people are not quite ready to face potential consequences for the sake of their faith. Rather, it could be used as a stepping stone to come out ever stronger with their belief. It is in this way that beauty can be found amongst a time of struggle; it is not the struggle that is beautiful. Rather, Fujimura implies that it is the positive outcome that may arise from overcoming the trial that is beautiful in every way. Fujimura does not connect his points in finding beauty in the struggles of life using the Hebrew Bible often; rather, he draws upon sources from Endo’s Silence and the context behind Japanese Christianity and provides support for his belief. This lack of biblical basis might be daunting as a Christian, but once relations are found between
Kogawa employs motifs drawn from Christian rituals and symbols that form the basis of a subtle allusion to the Works of Mercy. For example, Naomi’s rediscovery of her family’s past through her family documents and letters is compared to the biblical story
What woman doesn't want to be beautiful? Women want to please and will go to extreme measures to achieve the beauty ideal. Over the centuries, women have mauled and manipulated just about everybody part - lips, eyes, ears, waists, skulls, foreheads, stomachs, breasts and feet - that did not fit into the cookie-cutter ideal of a particular era's ideal of beauty and perfection. Women have suffered, sacrificed and punished themselves under the tyranny of beauty.
Yu, Han. “Memorial on Buddhism”. Making of the Modern World 12: Classical & Medieval Tradition. Trans. Richard F. Burton. Ed. Janet Smarr. La Jolla: University Readers, 2012. 111-112. Print.
At a mere 16 3/8 inches, the Fudo Myo-o at the Art Institute at Chicago is not the first object in the Japanese collection to catch your eye. Yet, when you pass by it will stop you in your tracks. The Fudo Myo-o is like nothing you’ve ever seen. His bulging eyes fasten onto your own, a gaze so vicious you cannot tear away from it. His piercing stare draws you in and his stance seems to beckon you to come forth. His furrowed brow and protruding fangs created a facial expression so intense it feels almost as if he is trying to tell you something. His arms seem to have, at some point, been holding something and they are open as if they are welcoming you and offer some kind of promise. Fudo sits upon a rectangular foundation, which gives the impression that his is some kind of deity or god-like figure. The Fudo Myo-o has fabric draped over his left shoulder and is wearing lavish jewelry reminiscent of a Bodhisattva. His jewelry also hints to the viewer that he must have some level of nobility. He also has shell li...
“Until the seventeenth century, Japanese Literature was privileged property. …The diffusion of literacy …(and) the printed word… created for the first time in Japan the conditions necessary for that peculiarly modern phenomenon, celebrity” (Robert Lyons Danly, editor of The Narrow Road of the Interior written by Matsuo Basho; found in the Norton Anthology of World Literature, Second Edition, Volume D). Celebrity is a loose term at times; it connotes fortune, flattery, and fleeting fame. The term, in this modern era especially, possesses an aura of inevitable transience and glamorized superficiality. Ironically, Matsuo Basho, (while writing in a period of his own newfound celebrity as a poet) places an obvious emphasis on the transience of life within his travel journal The Narrow Road of the Interior. This journal is wholly the recounting of expedition and ethos spanning a fifteen hundred mile feat, expressed in the form of a poetic memoir. It has been said that Basho’s emphasis on the Transient is directly related to his and much of his culture’s worldview of Zen Buddhism, which is renowned for its acknowledgement of the Transient as a tool for a more accurate picture of life and a higher achievement of enlightenment. Of course, in the realization that Basho does not appear to be unwaveringly religious, perhaps this reflection is not only correlative to Zen Buddhism, but also to his perspective on his newfound celebrity. Either way, Matsuo Basho is a profound lyricist who eloquently seeks to objectify and relay the concept of transience even in his own name.
Shinto: The Way Home written by Thomas Kasulis is a book designed to inform the reader of Shinto traditions and history, but how does his work stand on its own as a scholarly source. Kasulis uses simple organization strategies to control the flow of the work the simplest method is the separation of the book into six chapters as well as a two prefaces one from the editor and one from the author. The first chapter discusses Shintoism in the terms of a western audience while the second chapter confers the connection with normal Japanese culture with Shinto traditions. The third, fourth, and the fifth chapter canvases the history of Shinto traditions in chronological order from prehistory to 2002. Chapter 6 explains Issues with Shinto in a modern
As I walked into the first gallery, I saw a wood sculpture that stood in the center of the room. This carving depicted “the crucified Christ, flanked by the Virgin Mary and St. John the Evangelist with Angels holding instruments of the Passion”. It was painted oak and very appealing to the eye. It stood approximately 15 feet in the air. The origin of this sculpture is unknown, but it was found in a Belgium church. This kind of sculpture usually stood at the entrance or at the center of the alter in the church facing the congregation. This image of the suffering Christ relates to the Christian ideas of suffering and Christ’s salvation of all mankind.
... of the Christian faith front and center by uniting two camps of believers in one reading; a starting point. As illustrated by the authors, “Though we have not, of course, reached agreement, we are satisfied that we have eliminated misunderstandings, that is, that neither of us has misrepresented the other. We offer the result to the reader as a celebration of shared friendship, faith, and scholarship” (xi).
Shirane Haruo. et al. Early Modern Japanese Literature: An Anthology 1600-1900. New York: Colombia University Press, 2002. Print.
Silence is the story of a search for God's presence and voice in the midst of persecution, betrayal and doubt that seemed overshadowed by God's silence. It tells a story of Christian perseverance in the face of terrible danger, a story that continues to unfold today. Through the character of Father Sebastian Rodrigues and the story of Silence, Endo also explores the viability and relevance of Christianity in Japan. Was the Catholic mission to Japan doomed from the start? Was reforming the notion of God necessary for the Gospel to flourish in the Japanese context? From the way Endo crafted the book, it is clear that he does not believe Christianity was doomed in Japan. He does not seem to suggest that reforming the idea of God would have made it easier for Christianity to grow in peace.
Yukio Mishima’s Temple of the Golden Pavilion, set in postwar Japan, gives way to a reflection of the postwar experience both the representation of military aggression and in use of symbolism of beauty, loss, and destruction. A story about Mizoguchi, a young, stuttering acolyte’s obsession with beauty lends itself to the conflagration of the Temple of the Golden Pavilion, based loosely on a true story about the Kinkaku-ji.
The subjective element of beauty involves judgment, not opinion. Many people feel beauty is only something seen by the eyes. St. Thomas Aquinas views beauty in both the supernatural and natural orders. Aquinas lists the attributes of beauty to be found in nature. These are; unity, proportion, and clarity. We will see how these attributes of beauty are seen through the eye and felt by the heart.
Yukio Mishima was a brilliant Japanese novelist whose work began to thrive in the late nineteen forty's. His novels focused mainly on Eastern religion, homosexual eroticism and fantasies of death. These controversial themes seem to repel some readers (Magill); however, Mishima remained a dedicated literary artist. In his lifetime he wrote multiple volumes of literature, but only about six or seven earned him a great deal of attention from critics and readers in Japan (Yourcenar 24-25). However, he has earned himself the reputation of Japan’s greatest contemporary novelist (Gale, Magill). Every night Mishima dedicated the late hours to writing his novels. Mishima had been nominated for the Nobel Prize twice in his lifetime, but lost first to his friend Kawabata, and later to Miguel Asturias (Stokes 192). Yukio Mishima should be remembered for his great novels, Confessions of a Mask, The Temple of the Golden Pavilion, and The Sea of Fertility tetralogy.
I argue for an interpretation of Kant's aesthetics whereby the experience of the beautiful plays the same functional role in the invisible church of natural religion as Scripture does for the visible churches of ecclesiastical religions. Thus, I contend, the links that Kant himself implies between the aesthetic and the moral (in the third Critique and the Religion) are much stronger than generally portrayed by commentators. Indeed, for Kant, experience of the beautiful may be necessary in order to found what Kant views as the final end of morality — the ethical community — since human moral psychology requires embodiments of moral ideas. Finally, I seek to modify Martha Nussbaums' argument in Poetic Justice (1995) for the increased use of the literary imagination as a means for improving public moral reasoning in this country, with the Kantian insight that aesthetic autonomy is the key to any aesthetic-moral link.
The definition of beauty is varying among different people in the world. Even though almost everyone knows the term beauty, many people are struggling in defining it and persuading others to agree with their opinions. Beauty is defined by a combination of qualities existent in a person or thing that fulfills the aesthetic feels or brings about profound gratification. Many people define beauty as a term to describe a person’s physical appearance; they often think that beauty comes from magazines, video girls, or even models. Although the term beauty can define a person’s physical appearance, true beauty lies in the way one acts and thinks rather than the way one look.