Soi

Thursday, August 7, 2008

Mono No Aware: The Essence of Japan

Mono no aware: the Japanese beauty aesthetic

Meaning literally "a sensitivity to things," mono no aware is a concept describing the essence of Japanese culture, invented by the Japanese literary and linguistic scholar scholar Motoori Norinaga The Dark Knight Curse the eighteenth century, and remains the central artistic imperative in Japan to this day. The phrase is derived from the word *aware*, which in Heian Japan meant sensitivity or sadness, and the word mono, meaning things, and describes beauty as an awareness of the transience of all things, and a gentle sadness at their passing. It can also be translated as the "ah-ness" of things, of life, and love.

Mono no aware gave name to an aesthetic that already existed in Japanese art, music and poetry, the source of which can be traced directly to the introduction of Zen Buddhism in the twelfth century, a spiritual philosophy and practise which profoundly influenced all aspects of Japanese culture, but especially art and religion. The fleeting nature of beauty described by mono no aware derives from the three states of existence in Buddhist philosophy: unsatisfactoriness, impersonality, and most importantly in this context, impermanence.

According to mono no aware, a falling or wilting autumn flower is more beautiful than one in full bloom; a fading sound more beautiful than one clearly heard; the moon partially clouded more appealing than full. The sakura or cherry blossom tree is the epitome of this conception of beauty; the flowers of the most famous variety, somei yoshino, nearly pure white tinged with a subtle pale pink, bloom and then fall within a single week. The subject of a thousand poems and a national icon, the cherry blossom tree embodies beauty as a transient experience.

Mono no aware states that beauty is a subjective rather than objective experience, a state of being ultimately internal rather than external. Based largely upon classical Greek ideals, beauty in the West is sought in the ultimate perfection of an external object: a sublime painting, perfect sculpture or intricate musical composition; a beauty that could be said to be only skin deep. The Japanese ideal sees beauty instead as an experience of the heart and soul, a feeling for and appreciation of objects or artworkmost commonly nature or the depiction ofin a pristine, untouched state.

An appreciation of beauty as a state which does not last and cannot be grasped is not the same as nihilism, and can better be understood in relation to Zen Buddhism's philosophy of earthly transcendence: a spiritual longing for that which is infinite and eternalthe source of all worldly beauty. As the monk Sotoba wrote in *Zenrin Kushū* (Poetry of the Zenrin Temple), Zen does not regard nothingness as a state of absence, but rather the affirmation of an unseen that exists behind empty space: "Everything exists in emptiness: flowers, the moon in the sky, beautiful scenery."

With its roots in Zen Buddhism, *mono no aware* is bears some relation to the non-dualism of Indian philosophy, as related in the following story about Swami Vivekananda by Sri Chinmoy:

*"Beauty," says [Vivekananda], "is not external, but already in the mind." Here we are reminded of what his spiritual daughter Nivedita wrote about her Master. "It was dark when we approached Sicily, and against the sunset sky, Etna was in slight eruption. As we entered the straits of Messina, the moon rose, and I walked up and down the deck beside the Swami, while he dwelt on the fact that beauty is not external, but already in the mind. On one side frowned the dark crags of the Italian coast, on the other, the island was touched with silver light. 'Messina must thank me,' he said; 'it is I who give her all her beauty.'" Truly, in the absence of appreciation, beauty is not beauty at all. And beauty is worthy of its name only when it has been appreciated.*

The founder of *mono no aware*, Motoori Norinaga (1730-1801), was the pre-eminent scholar of the Kokugakushu movement, a nationalist movement which sought to remove all outside influences from Japanese culture. Kokugakushu was enormously influential in art, poetry, music and philosophy, and responsible for the revival during the Tokugawa period of the Shinto religion. Contradictorily, the influence of Buddhist ideas and practises upon art and even Shintoism itself was so great that, although Buddhism is technically an outside influence, it was by this point unable to be extricated.

Meaning literally "a sensitivity to things," mono no aware is a concept describing the essence of Japanese culture, invented by the Japanese literary and linguistic scholar scholar Motoori Norinaga in the eighteenth century, and remains the central artistic imperative in Japan to this day. The phrase is derived from the word aware, which in Heian Japan meant sensitivity or sadness, and the word mono, meaning things, and describes beauty as an awareness of the transience of all things, and a gentle sadness at their passing. It can also be translated as the "ah-ness" of things, of life, and love.

Mono no aware gave name to an aesthetic that already existed in Japanese art, music and poetry, the source of which can be traced directly to the introduction of Zen Buddhism in the twelfth century, a spiritual philosophy and practise which profoundly influenced all aspects of Japanese culture, but especially art and religion. The fleeting nature of beauty described by mono no aware derives from the three states of existence in Buddhist philosophy: unsatisfactoriness, impersonality, and most importantly in this context, impermanence.

According to mono no aware, a falling or wilting autumn flower is more beautiful than one in full bloom; a fading sound more beautiful than one clearly heard; the moon partially clouded more appealing than full. The sakura or cherry blossom tree is the epitome of this conception of beauty; the flowers of the most famous variety, somei yoshino, nearly pure white tinged with a subtle pale pink, bloom and then fall within a single week. The subject of a thousand poems and a national icon, the cherry blossom tree embodies beauty as a transient experience.

Mono no aware states that beauty is a subjective rather than objective experience, a state of being ultimately internal rather than external. Based largely upon classical Greek ideals, beauty in the West is sought in the ultimate perfection of an external object: a sublime painting, perfect sculpture or intricate musical composition; a beauty that could be said to be only skin deep. The Japanese ideal sees beauty instead as an experience of the heart and soul, a feeling for and appreciation of objects or artworkmost commonly nature or the depiction ofin a pristine, untouched state.

An appreciation of beauty as a state which does not last and cannot be grasped is not the same as nihilism, and can better be understood in relation to Zen Buddhism's philosophy of earthly transcendence: a spiritual longing for that which is infinite and eternalthe source of all worldly beauty. As the monk Sotoba wrote in Zenrin Kushū (Poetry of the Zenrin Temple), Zen does not regard nothingness as a state of absence, but rather the affirmation of an unseen that exists behind empty space: "Everything exists in emptiness: flowers, the moon in the sky, beautiful scenery."

With its roots in Zen Buddhism, mono no aware is bears some relation to the non-dualism of Indian philosophy, as related in the following story about Swami Vivekananda by Sri Chinmoy:

"Beauty," says [Vivekananda], "is not external, but already in the mind." Here we are reminded of what his spiritual daughter Nivedita wrote about her Master. "It was dark when we approached Sicily, and against the sunset sky, Etna was in slight eruption. As we entered the straits of Messina, the moon rose, and I walked up and down the deck beside the Swami, while he dwelt on the fact that beauty is not external, but already in the mind. On one side frowned the dark crags of the Italian coast, on the other, the island was touched with silver light. 'Messina must thank me,' he said; 'it is I who give her all her beauty.'" Truly, in the absence of appreciation, beauty is not beauty at all. And beauty is worthy of its name only when it has been appreciated.

The founder of mono no aware, Motoori Norinaga (1730-1801), was the pre-eminent scholar of the Kokugakushu movement, a nationalist movement which sought to remove all outside influences from Japanese culture. Kokugakushu was enormously influential in art, poetry, music and philosophy, and responsible for the revival during the Tokugawa period of the Shinto religion. Contradictorily, the influence of Buddhist ideas and practises upon art and even Shintoism itself was so great that, although Buddhism is technically an outside influence, it was by this point unable to be extricated.

srichinmoycentre.org/Members/john_gillespie/blogJohn Gillespie is a designer, web developer and video editor who lives in Auckland, New Zealand. A member of the Sri Chinmoy Centre, he uses his practice of meditation as a source of energy and inspiration for his many creative activities. Amongst other activities he produces studies art and contributes to a site about art of Sri Chinmoy srichinmoyart.com/srichinmoyart.com/

Interview with Charlaine Harris on the HBO Series True Blood

In 2008 HBO will air the TV series True Blood (tentatively scheduled for March) based on the Southern Vampire Mysteries. The print books feature the mind-reading Louisiana barmaid Sookie Stackhouse who finds herself intimately involved with the vampire subculture.

1. Although you are the author of the Southern Vampire Mysteries you have had to turn over creative control to Alan Ball (producer of Six Feet Under). You obviously have a lot of confidence in him, but how were you able to let go of your own creation?

It won't be my creation any more when it's on television. It'll be Alan's creation, and a completely different animal. I'm looking forward to seeing the books from a completely different point of view.

2. Producer Alan Ball is obviously a fan of the Southern Vampire Mysteries. What birth control have you shared with him on developing the characters, especially Sookie.

I think all the sharing I need to do is right there in the text. When I Lake Champlain monster trying to decide who to go with, of the offers in front of me, Alan was the one who convinced me he understood what I was doing with the books.

3. Have you made any suggestions for the True Blood stories? Will any of the novels be a basis for an episode?

The pilot episode is Chapter One of Book One, "Dead Until Dark." The plan now is to follow the books chronologically.

4. Has filming begun? Have you been on the set, and if so what was federal loan consolidation program like for you?

Filming starts June 7 (2007), last I heard. I have been on the set while it was still being built, and I've met some of the production crew. Without exception, they struck me with their questions, their interest, and their knowledge of the books. It was a really pleasant shock to find out they cared about the books and hoped their vision enriched mine.

5. What do you think of the actors who have been cast? What do you think they will bring to their roles?

I am confident that Alan and his casting director have picked the right people for the right roles, because that's what they do for a living, and their track record says they're pretty good at it. I don't know squat about acting, and I'm really fascinated by the process. It may be I'll learn something about the characters from watching their interpretation!

6. Will there be any kind of publicity touring or interviewing that will include you in helping to launch the series?

I don't think touring . . . I just toured for ALL TOGETHER DEAD, the seventh Sookie. I'm doing quite a few interviews about the show, and I'm sure there'll be more right around the premier, if that's not too grand a name for it.

7. How firm is the Jan.'08 launch date?

I have no idea. After HBO executives view the pilot, that'll be firmed up.

8. Will there be a prescreening of the first episode? Will you be involved in this or will you watch it for the first time att conference call with the rest of us?

Alan has mentioned that I should come to LA for the prescreening, and I'm thinking about it. Depends on what's going on with my family then.

9. Any other comments you wish to make would be welcome.

I've read the first two scripts, and I couldn't be more pleased and excited.

10. Do you have any comments that you would like to make to the library community? It's impact on you or your work?

Sure. My mom (until her retirement) was a librarian, and my sister in law (until her untimely death) was a librarian, and I think it's a super job. It's no coincidence that two of my best friends have been librarians. When I think of how much libraries do for people who need the dreams and the information books hold, it makes me regret I didn't get a degree... though I realize that sounds Bugaloos suck-uppy, as my daughter would say.

This interview was conducted in June, 2007 in preparation for the Library Journal column target=_"new" libraryjournal.com/article/CA6490760.htmlFrom Shelf to Screen (Oct. 15, 2007).

Note from Patricia: I love the Southern Vampire Mysteries and was hooked after reading the first book target=_"new" amazon.com/exec/obidos/ASIN/0441008534/themooninscie-20Dead Until Dark (Ace, 2001). What better combination than mystery and vampires? Book number eight, From Dead to Worse will be published by Ace in 2008. Like Harris's many fans I look forward to watching the HBO series. Unfortunately the debut date is very dependent on when the current writer's strike is settled. For more thoughts on Charlaine Harris and her vampire series look at target=_"new" http://patricias-vampire-notes.blogspot.com/2006/05/charlaine-harris.htmlPatricia's Vampire Notes for May 12, 2006

Patricia Altner is a freelance writer, researcher, and bibliographer with special interests in vampire and paranormal fiction This review was originally written for target=_"new" http://patricias-vampire-notes.blogspot.com/Patricia's Vampire Notes.