Until now ,the" western "and" eastern " parts of a unified aesthetic science remain alien to each other, and their conjugation, as a rule, is carried out purely mechanically. The reason for this "incompatibility" lies (in addition to the difference in the "language coordinate system", which is especially important for the region of "hieroglyphic culture") also in the orientation of the aesthetics of the Far East, first of all, to practice in the broad sense of the word. So understood, aesthetics acts not only as an artistic theory, but also as a practice of feelings in everyday life, the "mind of the body", the practice of the master's morality (see: [Skvortsova, 2011, p. 5-17]). As a result, Far Eastern aesthetic categories turn out to be "wider" than Western ones, they have more emotional coloring and relativity; they are more intuitive and "logical vagueness", which causes rejection among rationalistic Western researchers who perceive and interpret aesthetic problems discursively.

Keywords: modern aesthetics of Japan, Imamichi Tomonobu, periodization of Japanese aesthetics, aesthetics of the "formless" ("aesthetics of the wind") and form.

The famous Japanese philosopher Imamichi Tomonobu (born in 1922) strives to establish a cultural dialogue between East and West and shows a remarkable talent for mastering both aesthetic approaches equally in the capital monograph "Aesthetics of the Far East".

The Japanese aesthetician sees his task as "following ancient texts, theoretically explaining how philosophical and aesthetic thinking manifested itself in Chinese and Japanese classical works" [Skvortsova, 2011, p.6]. In the chapter "Review of the history of Japanese aesthetics", Imamichi gives a periodization of the aesthetic thought of Japan and at the same time raises the problem of the possibility of isolating elements of the proto-aesthetic consciousness of ancient Japanese people based on the analysis of the texts of the first historical and mythological chronicles of Japan "Kojiki "(712), "Nihonseki" (another name "Nihongi", 720) and the poetic anthology "Manyoshu" (758).

In the chapter "Fundamental qualities of the Japanese and art", the scientist traces the etymology of the Japanese understanding of beauty, while analyzing the phenomenon of hieroglyphic writing. A special place is given to the problem of the synthesis of ethical and aesthetic aspects in the category of beauty. In the chapter "Aesthetic consciousness of the Japanese-traditions and logic", the author continues to discuss the proto-aesthetic knowledge of the ancient Japanese, which was reflected in the first written monuments of the VIII century. Here, Imamiti develops a theme first stated in the early 20th century by one of the founders of the Tokyo Institute of Aesthetics, Dr. Onishi Yoshinori, who drew attention to the abundance of "botanical" names and related aesthetes-

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the characters of ancient and medieval literature (Onisi, 1939; aka, 1940). Herbs and trees (Yap. "somoku") with their seasonal changes-flowering and wilting-not only symbolized the transience of youth and the inevitability of withering, but were also connected with the world of deceased ancestors-kotim, the patrons of the living. Like his predecessor, Prof. Onishi, Imamichi believes that many features of Japanese art, its aesthetic ideal and aesthetic categories are caused by the" vegetative " nature of the Japanese art tradition.

The chapter "Aesthetic Reflections on Poetics" is one of the most analytical in the entire book. It is devoted to the problem of form in Japanese art. The chapter "Matsuo Basu: Journey and Dream as representatives of Nothing" examines the work of the great Japanese poet and his contribution to the development of the categorical apparatus of Japanese aesthetics.

The last chapter, "Song as an intermediary between Classical Art and Reality," is dedicated to Motoori Norinaga (1730-1803), an outstanding Edo cultural figure who posed the problem of self-determination of Japanese culture in relation to Chinese and scrupulously studied all written monuments of Japan, starting with the Kojiki. In conclusion, Imamiti once again emphasizes the enduring value of the aesthetics of the Far East and the great importance of studying its heritage.

What kind of periodization of the history of aesthetic thought in Japan does Imamichi Tomonobu suggest? The first kodai period, from ancient times to the fifth century, was marked by the dominance of the ancient Jōmon and Yayoi cultures. Its main feature is that in the absence of writing, there is already "oral literature".

The next period is Chusei. These are the times of early feudalism (approximately VI-VIII centuries). In the traditional periodization, they correspond to the Asuka — Nara — Heian eras. "Tyusei is marked by the appearance of writing, the pronounced influence of China on the spiritual life of the country, and the cultivation of refinement in the everyday life of the ancestral nobility. This is the period of emergence and flourishing of several types of art: painting, architecture, sculpture, literature, poetry, music. In fact, it can be considered the period of the formation of Japanese aesthetic thought, and above all the development of national poetics in the person of such thinkers as Ki-no Tsurayuki (? -945), Fujiwara Kinto (966-1041) and Fujiwara Sadai (1162-1241)" (Imamichi, 1985, p.91).

The third period, kinsei (near Middle Ages or developed feudalism, XIV-XVII centuries), is characterized, according to the philosopher, "primarily by the influence on the artistic thought and creativity of Buddhism, especially the Zen school" (Imamiti, 1985, p.91). This time was unusually rich in new types of art: in poetry, a new genre of renga flourished, in the field of performing arts - No theater; the art of the tea ceremony, the art of composing plant compositions - kado, the art of creating landscape gardens. Architecture has been exceptionally developed. This was the time of the great theorists Zenami (c. 1363-1443) and Shinkei (1406-1475), whose poetics are strongly linked to the worldview of Zen Buddhism.

At the same time, in the Kinsei era, martial samurai came to the forefront of history, and Japanese art, "imbued" with the stoicism and rigor of the military class, acquired a new quality. Its definition includes the concept of tao (do) — "the way", borrowed from the Bushido code of samurai honor. The influence of the deeply spiritual content of the Tao on artistic practice has enriched Japanese art, placing it on a par with traditional religious and philosophical teachings. The author writes about it this way: "Bushido in a good sense of the word religiously "cleansed" art from the game moment... Geido theory has gained a strong connection with the concept of Tao" [ibid., p. 92].

The very etymology of the name of the art - Geido indicated its similarity with Buddhism (butsudo) and Shinto (Shinto or shindo). It is during this period that not only

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geido is an art as a kind of occupation and way of life, but its types also acquired their own tao characters in writing (for example, kado - the way of a flower, sado - the way of tea, etc.)

The fourth period, which belongs to the era of late feudalism (mid — XVII-mid-XIX centuries), Imamiti gives the name "Kindai", or "New Time". At the time of Kindai, a new genre of triplets appeared in poetry-hyaku, in literature - the genre of short stories, in the field of performing arts - the city's Kabuki theater, and at the same time the Dzeruri puppet theater flourished. The main theoretical achievement of the aesthetics of this period was the poetics of the famous poet Matsuo Basu. In addition, the theory of painting by Tanomura Takeda (1777-1835) and the comparative cultural studies of Motoori Norinaga mentioned above appeared.

The last, fifth period — gendai (modernity) - the philosopher counts from the time of the Meiji Restoration (1868) to the present day, challenging the opinion of those Japanese historians for whom modernity begins only in the XX century. In the historical section of the work, the main question is whether it is possible to recreate the "proto-aesthetic" views of the Japanese people based on the study of the oldest Japanese written monuments — the poetic anthology "Manyoshu" and two historical and mythological chronicles "Kojiki" and "Nihongi", which appeared on the Japanese islands at the beginning of the XIII century.

Scientists who set out to solve this problem most often begin by considering the legend of the heroine of Kojiki-the goddess Ame no Uzume. With her singing and dancing, she lured the sun goddess Amaterasu ("Illuminator of the sky") out of the sky grotto and thus brought light and order back to the world. Aesthetic interpretations of this episode, according to Imamiti, are usually limited to the statement: "... with the help of dance and singing, it was possible to resolve the national and social crisis - this was the significance of art" [Imamiti, 1985, p.101]. He himself is by no means content with this conclusion. Subjecting ancient literary monuments to an in-depth analysis, the scientist identifies the following questions as fundamental and interrelated: about proto-aesthetic concepts appearing in early written monuments; about the symbolism of color, important for understanding the early art of Japan; about the proto-aesthetic ideal.

Imamiti's first "proto-aesthetic discovery" concerns the interpretation of light as an ideal of beauty among the ancient inhabitants of the Land of the Rising Sun. He notes that not only in Kojiki, but also in other old Japanese chronicles, light and related concepts - fire, day, clarity, distinctness, transparency, water, purity, wind, movement, life, order - were related to the good and beautiful. Conversely, darkness, night, dirt, ruin, disorder, disease, and death were considered evil, harmful, and ugly. Among other fragments that testify to the aesthetic significance of light, the philosopher cites the episode of the death of the goddess Izanami at the very moment when she gives birth to her son, the god of fire. The light had a white color as its symbol. This is clear from the Nihonseki chronicles. A character in these chronicles, the god Yao Yuzu, speaking of the vitality and exultant joy of his fellow gods, says: ana omo shiro - " their faces are white." White light as a symbol of sunlight appears in other ancient chronicles. Subsequently, the white color became associated with wind and water. Since these two elements were used, according to the Shinto religion, to purify the defilement, the Shinto sacralization of the white color gradually took place. The symbolism of the white color has been reflected in the architecture of Shinto temples since ancient times. For their finishing, unpainted planed wood was used, which initially had an almost white color. White pebbles were used for the exterior decoration of the temple, and white thick paper was used for shoji and fusuma - sliding partition panels of the temple interiors. Obligatory ablution (miharasi) the mouth and hands at the entrance to the temple territory are also connected with the white color-through the element of water.

The aesthetic of white as an attribute of the water element is found not only in Shinto shrines, but also in Buddhist shrines. A classic example is bud-

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diysky temple of the XIII century. Kiyomizu-dera (Japanese Temple of Pure Water) in Kyoto. In many Buddhist temples, it is still prescribed to splash water in the faces of sculptured Buddhas and Bodhisattvas - it is believed that in this way you can achieve their favor.

Thus, the white color as an aesthetic symbol meant primarily proximity to the deity. "White is the color of a person's connection with the deity," writes Imamiti (Imamiti, 1985, p.252). At the same time, the professor asks the question: what was the connection of white with other colors and what did the latter symbolize? He is still looking for the answer in the same ancient chronicles. In addition to white (shiro), only three other colors are mentioned in Kojiki: kuro (black), aka (red), and ao (blue-green). (Later, in the poetry anthology "Manyoshu", seven more names of colors appear: midori, murasaki, hanezu and hanada, denoting shades of blue-green (ao), as well as ni, soho, kurenao, which were part of the red group - aka.)

Imamichi notes that in Kojiki, the hideous area of Yomi no kuni (Japanese: Land of Darkness) is called black; an evil, unrighteous heart is also called "black". Conversely, Amaterasu tells his brother that with a black, polluted heart, it is impossible to enter the white and bright abode of the gods - Takamagahara. Black was undoubtedly a symbol of evil, injustice, filth, and death.

In this dichotomy of dark and light, Imamiti believes, red also participated. In ancient Japan, red was closely associated with wounds, blood, war, death, dirt, and earth. It symbolized hatred, pollution, sinfulness, was like a weakened version of black and, just like black, opposed white. The negative attitude of the Japanese towards red has changed somewhat in the course of acquaintance with continental culture. "Red," Imamiti writes, " has been used in Japanese architecture since borrowing from Chinese and Korean cultures. Initially, Japanese architecture used pure, uncovered wood" (Imamichi, 1985, p. 252).

Blue-green, which is neutral to both black and red and white, is what Imamiti calls " the color of human life." However, the scientist also notes a certain variation in the content of color symbols. So, white sometimes not only served as an attribute of life, but was also used to denote death, for example, when the purity of the heart of a righteous person illuminated the fact of his assumption with inner light.

Let us note that in the latter case, the close interweaving of aesthetic and ethical aspects in the worldview assessments of the ancient Japanese is clearly demonstrated. In the annals of Kojiki and Nihongi, the edicts of Samme, as well as in the prayers of Norito, Akaruki kiyeki naoki kokoro appears as a syncretic ethical and aesthetic ideal-a bright, pure, righteous heart (Ermakova, 1983). "In the Yamato language," Imamichi writes," the character () has several meanings, of which the main ones were utsukushi (beautiful) and yoshi (kind, righteous) " (Imamichi, 1985, p.260). What was more important was yoshi. This character, which is now used to denote the category of "beautiful", has an upper (bi) and two main lower (utsukushi, yoshi) reading. At the same time, as was noted by the author of the Japanese word bigaku for the concept of "aesthetics" Nishi Amane (1829-1897), many characters - "good" (), "creativity" (), "love" ()- also have a lower reading of yoshi. This fact testifies to the indissoluble unity of beauty, love and goodness in the view of the Japanese.

The specifics of Japanese consciousness, in contrast to the Western one, are largely due to the peculiarities of hieroglyphic writing. As a rule, a hieroglyph, having a certain semantic meaning, depending on the situation, as it were, "turns one or another facet" of its meaning, acquiring one or another semantic coloring depending on the context. Often, the idea of "good beauty" was combined with a love experience, directing a person to virtuously beautiful ones

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actions (which is also reflected in the corresponding proto-aesthetic categories). Proof of this can be found in numerous songs that extol the suicide of a wife left alone after the death of her husband as a truly beautiful act. It is in such poetic creations that what was further developed in the Middle Ages and Modern Times is first revealed: the priority of the spiritual dimension of the idea of a work of art over the material embodiment of this idea. The process of gradual, so to speak, "dematerialization" of the understanding of beauty is reflected in the development of aesthetic categories. The earliest stages of this "ascent" are found already in "Manyoshu".

Interestingly, the first aesthetic judgment recorded in writing has a love modality. Imamichi found it in the Kojiki chronicle in the episode when the members of the divine couple of the founders of the Japanese Islands, Izanagi and Izanami, rated each other as yashi (yoshi), in a later reading - Utsukushiki. Utsukushi is the main, lower reading of the mentioned bi character and currently means "beautiful", "beautiful". However, in ancient times, the scientist notes, utsukushiki meant "beloved" to a much greater extent than "beautiful", and was colored by strong personal experiences.

It is interesting that in the mind of the ancient Japanese, perfection was associated with the full disclosure of vital forces, symbolized by plants. This important feature of the Japanese worldview was pointed out, as noted above, by Onishi Yoshinori. The" plant worldview " - the increased attention of Japanese people to plant life — is also reflected in the artistic tradition of this country. "Plant aesthetics" marks all types of Japanese art. There is also poetry, more than anywhere else in the world associated with the description of the experiences caused by the change of seasons and the corresponding changes in the plant attire of the earth. Here and painting with its attempts to portray the fleeting, fragile beauty of cherry blossoms, plums or convey the charm of "dressed in purple and gold" maple groves. And who would deny the influence of the shape, color, and texture of wood on Japanese sculpture and architecture? The very architecture that still draws inspiration from the aesthetics of the surrounding mountains and forests and that carefully preserves the natural naturalness of wooden materials in the best examples of the most modern buildings. "Botanical symbolism" permeates all applied art in Japan.

The influence of the plant worldview on the ancient art of calligraphy is also very noticeable. No wonder the bizarre ligature of hieroglyphs or handwritten hiragana alphabet resembles a tangle of exotic flowers and herbs. And it is not for nothing that the calligraphic cursive was called" herbal writing "by sose, and many everyday hieroglyphs included "plant elements": wood, bamboo, grass...

So, Professor Imamichi reconstructed the early aesthetic thought of Japan, defining the circle of its main problems - the symbolism of color, syncretism of proto-aesthetic representations, the existence and functioning of proto-aesthetic proto-concepts, and, finally, the influence of the "plant worldview"on the aesthetic consciousness of the ancient Japanese. Of course, this reconstruction cannot claim to be one hundred percent true, since modern man is not able to experience and see the world as it appeared to his distant ancestors. It is all the more important that the correct handling of the material is observed during "intellectual reconstruction" [Gadamer, 1988, p.49]. Let us now move on from the past to general, or" cross-cutting " issues for the entire Japanese aesthetic. The first of them is about the relationship between the peculiarities of self-consciousness of Japanese people, formed in the course of the formation and evolution of social relations, on the one hand, and the peculiarities of artistic life, the entire aesthetic tradition, on the other.

There is no doubt that the specifics of artistic practice and the theory that grows out of it are determined in a particular region by personal characteristics.

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qualities and mentality of the population of this region. The most striking character trait of the Japanese, according to Imamiti, should be considered "non-personal". "The absence of the concept of personality," he writes, "is a common feature of Far Eastern cultures" [Imamiti, 1985, p.229]. Based on this thesis, he makes an erroneous conclusion: if there was no concept, then there was no denotation of it - that is, the person as such.

Imamichi Tomonobu begins his discussion of " non-personal aesthetics "with a hieroglyphic digression and brings to the attention of readers that none of the traditional concepts of the Japanese language, which are close in meaning to the Western concept of" persona", can still be considered to adequately convey the meaning of the latter. Japanese words that are similar in content can denote an individual or his character (kojin, hitogara, respectively). However, they are more likely to point to the human individual and the presence of certain characteristics in it, rather than to a person, that is, to a person as a special social and intelligent being with a special spiritual essence.

Imamichi explains the infamous inferiority complex of Japanese people by the lack of personality in pre-Keiji Japan. "But does this fact indicate the superiority of Western cultures?" - he asks the question and gives a negative answer to it (Imamiti, 1985, p. 229). Indeed, despite the fact that the personality did not exist in the Far East, nevertheless, the highest virtue of a person since the time of Confucius was recognized as "duty" (yap. gi, modern times). sekinin) as a responsibility in relation to the social collective, the community (Jan. kedotai). A violation of gi in a samurai environment, for example, required seppuku to commit suicide, while a commoner could die from just worrying about it. As for the West, according to the scientist, the local inhabitants did not know responsibility until Modern times. The modern concept of "responsibility" (fr. responsabilité, eng. responsibility) emerged only at the end of the XVIII century, when there was a need for it in the conditions of developing contractual capitalist relations: "Therefore, the Japanese should be proud - they had something that the West did not have" (Imamiti, 1985, p.231).

The focus on achieving an "emotional response" is typical for all types of traditional Japanese arts. In the field of artistic practice, this is especially clearly embodied in poetry, in the genre of renga, which arose as a song-dialogue, the result of the joint work of several authors. In theory, it found expression in the aesthetic category of ma (lit. "between", "interval"), which denotes more than just a spatial or temporal interval. "Ma," Imamiti writes, " is a kind of emotional response space... All Japanese art was imbued with the light of spiritual interaction, co-creation of the parties, which was strikingly different from Western self-expression "(Imamichi, 1985, p. 243).

Here we should once again focus on two theses formulated by the philosopher: that personality was developed in the West, but not in the East, but "responsibility" was developed; and that "responsibility" as a form of emotional response is a characteristic feature of traditional Japanese arts in comparison with Western art. Is this really the case?

To begin with, the concept of "personality" is present in the arsenal of various Western sciences: psychology, philosophy, sociology, law, and even logic, and each of these disciplines puts its own meaning in this concept, different from the others. In addition, the word "personality" is actively used by representatives of Western philosophical thought (primarily in psychological theory) and Western jurisprudence (in the practice of criminal law, where the concept of "personal identity" exists), and volumes of research have been written on the topic of personal responsibility. It can be said that legal and moral responsibility was included in the very definition of the concept of "personality" in these disciplines. Therefore, responsibility cannot be considered a purely Far Eastern attribute. The fact itself

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contrasting responsibility and personality, especially if they are divided into different regions, is nonsense.

The formation of the individual in the West was largely promoted by Christianity, especially Protestantism, which defined the will of all people without exception as free and put each individual in the face of responsibility for the actions he committed during his earthly life. The historical development of the personality of a Western person was determined by the emergence of various types of responsibility-economic, legal, moral-in relation to the social groups to which a person belonged. So, for the Middle Ages, the presence of numerous written and unwritten "codes of honor" among knights, artisans, peasants (mutual responsibility), monks, etc. is characteristic.

Capitalism in the West, which gave the individual enormous opportunities for material enrichment, also broke the " motley feudal fetters "(Karl Marx) that bound the individual to a certain social group, and forced the Western person to self-determine in relation to the whole world. This, in turn, deepened the individual's self-consciousness, caused the complication of his inner world, including the complication of the forms of his responsibility to society and his conscience. However, the juxtaposition of a European resident who has passed the school of four hundred years of "capitalist individualization" to a Japanese resident, where capitalist relations have been established relatively recently, makes sense only if the researcher set out to demonstrate the socio-psychological differences in personality formation in the West and in the East.

These differences in themselves can by no means serve as proof of the absence of a personal principle in Japanese spiritual culture as such. In Japan, a slightly different type of personality has developed, more appropriate to the social structure of this country, its traditions. A serious comparative study of personality types in the East and in the West needs to be continued (see: [Lutsk, 1986, p. 54-62; Skvortsova and Lutsk, 1985, p. 132-139]). Similarly, the problem of implementing the principles of "non-personal aesthetics" in Japanese art, posed by Imamichi Tomonobu, deserves serious separate consideration.

However, I would like to emphasize that even here, from the point of view of philosophical and aesthetic analysis, it is important to identify the origin and evolution of the corresponding categories of national aesthetics within the artistic tradition. This topic is not new, but, unfortunately, there are still no works in both domestic and world Japanese studies literature where it would be fully disclosed. In my opinion, the highest results in this regard in our country were achieved in T. P. Grigorieva's book "Japanese Art Tradition" (Grigorieva, 1979). Let's try it together with Prof. Imam is able to trace the sequence in which and by which of the Japanese thinkers these or other aesthetic principles were developed, paying primary attention to the" bypassed "and" inconspicuous " categories.

Ki - no Tsurayuki, the author of the Preface to the poetry anthology Kokinwakashu ("Collection of Old and New Yamato Songs", 905), is the forerunner of aesthetic thought in Japan. [Kokinshu, 2005]. However, the first person to "theorize" poetics was Fujiwara Kinto (966-1041), who was strongly influenced by the Chinese theory of painting and calligraphy. It was he who introduced the category of sugata (form) into poetic usage, which was developed in the later history of art. In his works "A New anthology of basic Poetic principles" (Japanese: Shinsen zuino) and "The Nine Virtues of Yamato Poetry" (Japanese: Waka Kyuhin), Fujiwara suggested that the best poetic works are those in which the maximum of feelings is expressed in the most concise form. The poet's skill, he believed, lies in the ability to evoke in the reader amari-no kokoro (lit. "excess of the heart"), i.e. such emotions that, although present in the poem itself, are present implicitly, in the subtext,

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between the lines. Fujiwara Kinto's concept of amari no kokoro was the forerunner of yosei and yojo, the basic techniques of ancient Japanese poetics.

The category of yojo, which denotes "excessive", suggestive, unspoken emotions designed to awaken the reader's imagination, entered art criticism thanks to the theoretical developments of poets and writers Fujiwara Toshinari (1114-1204), Mibu Tadamine (CPV) and Kamo no Temei (1155-1216). In its appearance, it preceded the later known category of yugen, which appeared later. These same poets also proposed the now-forgotten categories of okashi, take, taketakashi, and tekoe. Okashi meant beauty that came from an interesting idea of the song-verse, and on the basis of the last three concepts, the categories of sobi ("majesty")were later formed and suko ("sublime"). In the Middle Ages, the conceptual search for Japanese aestheticians reached its peak in the works of Fujiwara Sadai (Teika, 1162-1241). Developing Tadamine's poetics, he proposed in the work " Favorites by Month "(Japanese:" Maigesse") first 10, and then 18 "styles" of Yamato poetry. The names of these "styles" simultaneously denote the aesthetic principles of versification, and some began to play the role of aesthetic categories proper. Fujiwara Teika identified four basic poetic principles: yugen, kotoshikarubekie, reiyo, and usintai.

Yugen in this classification is just a homonym of the later yugen and has a completely different meaning: "silence", "calm". Kotoshikarubekie is the principle of naturalness, harmony with nature; reye symbolizes grace, grace; finally, usintai, or "depth of the heart" - the principle, according to Fujiwara, is the most important. In accordance with the requirements of this principle, the composition of a song or verse should occur only as a result of a strong experience, emotional tension, which must be adequately conveyed to the reader or listener. "By usintai," writes Imamichi, "Fujiwara Teika means the highest form of verse, where the depth of pathos and the height of the logos are merged" (Imamichi, 1985, p. 105).

In addition to the four basic principles listed, Fujiwara considered six more derivatives: tekoe (sublime), miyo (visibility), omoshiro (fascination), hitofusharue (unity of pathos), noe (conciseness, concentration) and kirattai (demonism). The latter principle is the most difficult to define. Apparently, as Imamiti believes, it expresses something opposite to yubi-refined, exquisitely elegant [Imamiti, 1985, p. 104].

The views of Fujiwara Teika became another link in the continuous chain of development of Japanese aesthetic thought, which, as I have already noted, has been characterized by the idea of the unity of beauty and goodness since the time of Kojiki. It is no accident that Fujiwara wrote that "the beauty of a song-poem is closely related to the righteousness of its content, in the unity of the beautiful and the good, since art and morality are inseparably intertwined in the tao" (Imamichi, 1985, p.105).

The next stage in the development of the conceptual apparatus of Japanese aesthetics, according to Imamichi, is associated with the work of such major practitioners and theorists of the arts as Shinkei (1406-1475), Joami, Murata Shuko (1422-1502) and Setetsu (1381-1459). On the one hand, these thinkers developed the categorical apparatus of their predecessors; on the other, they brought to it a reinterpreted aesthetic experience of the Buddhist teachings of Shingon, Tendai, and Zen. Shinkei, the theorist of poetry, in his work "Sasamegoto" introduced the concept of gudo (righteousness) in relation to poetry, its ideal appearance. The only way to achieve a moral high point in poetry, he said, was to introduce the poet to religious experience, particularly that of the Tendai school. The demand for "righteousness", which spread from poetry to other forms of art, marked a turn from the game moment to the seriousness of the religious sense. It was Buddhism that gave the understanding of beauty a deep shade of mystery, an unmanifest in the phenomenal world, only hinting at the noumenal world. Righteous Art faces a problem:

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is it possible to use artistic means to depict the Buddhist understanding of life as a movement from the unmanifested, hidden to the revealed, framed and back again?

By "basis" was meant, of course, the Buddhist understanding of reality, which is both present and not present-as if pulsating - in the phenomenal world. One should also note the unity of the group of techniques used by Buddhist-oriented artists to denote the "true" reality that is always slipping away and does not have a permanent form.

Such techniques are most clearly found in painting. This refers to the so-called yohaku - the effect of empty white space on the plane of the picture. Yohaku gave the painting a noumenal significance, awakened in the viewer a sense of the inexhaustibility of the source of cosmic life. In poetry, the already mentioned yosei, or yojo, became a similar tool. Several similar principles, in particular senu tokoro ga omoshiroki — the ability to arouse interest in the absence of visible action, appeared in the art of Noh theater. In the art of the tea ceremony, such a principle is takekurami (mystery, non-appearance). The founder of the Japanese tea ceremony, Murata Shuko (1422-1502), for example, saw mystery as the main meaning of the action.

In addition, Imamiti points out, within the framework of Buddhist ideas about beauty, three characteristics common to all arts appeared, corresponding to the tastes of that era: kareru, hieru and yaseru. These three verbs, which literally mean "fade", "freeze from the cold" and "lose weight", convey the image of refined, almost disembodied, but spiritual beauty.

The pinnacle of understanding religious experience in art is the category of yugen. As already mentioned, the term yugen first appears in the poetics of Fujiwara Sadai, but its final content was formed later, in the works of the poet and art theorist Setetsu (1381-1459) and in the plays and essays of the playwright Joami Motokiyo. Many Japanese and foreign scientists have devoted their research to the yugen category, so we will not dwell on its detailed characteristics. We can only point out that this is the quintessence of the understanding of beauty as a mysteriously distant, hidden, deep reality, the feeling of which is evoked by the artist's skill. Similar to the aesthetic principles listed above, yugen has a complex structure, meaning at the same time both the excellent quality of the artist's skill, the quality of the work, and the strong experience of the viewer-listener, which is close to religious feeling.

The next stage in the development of aesthetics in Japan is associated, according to Imamichi, with the names of Matsuo Basu and the master of the Sen no Rikyu tea ceremony. Basu aesthetically interpreted the Taoism of Lao Tzu and Chuang Tzu. It was from the Taoists that he adopted the principles of introspection, rough simplicity," naturalness", and artlessness. These principles were embodied both in the wanderer's life of Basov and in his poetry, in the framework of which, according to the scientist, "he saw the horizons of new aesthetic categories" (Imamiti, 1985, p.310).

Basu's contribution to the treasury of Japanese aesthetic thought is extremely great and consists, in particular, in introducing the categories of sabi and wabi into artistic and theoretical use. Initially, the poet interpreted them as "calmness" and"peacefulness". However, in the course of changing and developing his creative views, these categories also developed, acquiring more and more new semantic shades and becoming more difficult to comprehend. Extensive literature is devoted to Sabi and wabi. But this usually overlooked an essential feature that complements the wabi palette: the fact that this category has a touch of the sublime. Along with wabi and sabi, the concept of karumi (literally, "lightness") often appears in the works of researchers of Basu's creativity. Sanovich, for example, interprets karumi as "high simplicity" (Sanovich, 1977, p. 597).

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Let's turn to those categories of Fables that have a high degree of aesthetic commonality, but are rarely mentioned in works about the Japanese art tradition. This is the category of utsuri-an aesthetic principle that characterizes exclusively the art of poetry and means "natural flow" of the upper line to the lower (in Japanese, the right line to the left). A more universal category is hibiki, which means more than just "echo", "echo" that occurs in the heart from the beauty of the poem, but, apparently, an echo in the heart of the poet to the beauty of the surrounding world. The concept of shiori is closely related to sabi and has often been used together with it. Shiori-sabi can be translated as the" seepage " of a poet's feelings through the lines of a poem that evoke an emotional response in the soul of a person. To describe exquisite refinement, the category hosomi was first used, which later became the entry of the idea of the poem into the mysterious realm of yugen. Finally, the most synthetic and therefore difficult - to-understand category is nioi (lit. "smell"). It is borrowed from the art of sword tempering and originally denoted the plaque that forms on the blade as a result of quenching with fire and water.

Let us now focus on Imamiti's description of the contribution that the masters of the tea ceremony made to the development of aesthetic thought in Japan. Takeno Seo (1504-1555) and especially Sen no Rikyu (1521-1591) gave the art of sado (lit. "the way of tea") is more secular than it was originally in Murat Syuko, the character. At the same time, they developed a strict canon of the ceremony, which became a model of authentic synthetic art in Japan.

The canon was based on the sabi principle, which, like wabi, was more naturally materialized in the framework of sado. Since the sixteenth century, the tea ceremony has gained such prestige as a model of canonized synthetic Japanese art that its aesthetic ideals have subsequently had a profound impact on those arts that were part of the synthesis in sado. The influence of the worldview of the tea ceremony - chanoyu is noticeable in the design of landscape parks with all their attributes, in architecture, in the decoration of tokonoma, in the design of tea utensils. According to the observation of G. B. Navlitskaya, " the detailed elaboration of the tea ceremony canon, on the one hand, first revealed an ensemble approach to the conscious, planned organization of the entire subject environment surrounding a person, and on the other, it was later consolidated in art (including all its diversity) lack of division into the spheres of utilitarian and elegant" [Navlitskaya, 1983, p. 108].

A cross-cutting theme raised by Imamichi in "Aesthetics of the Far East" is the specificity of form in Japanese art. In modern Japanese, there are several variants of characters that are equally translated as "form" - kata, katachi and sugata. However, in ancient and medieval Japan, each of them had its own specific shade of meaning. Moreover, in the art and aesthetics of Japan, the concept of a sugata-type form was widely used and developed. But the form of the katati type has not received theoretical development.

The concept of katati expresses a clear structure, relative static character, and external expressiveness (whether it is a poetic, linguistic, or pictorial, architectural, or musical form). The main characteristic of katati, according to the scientist, is that it is a materialized circumstance (Imamiti, 1985, pp. 275-280). Along with its general qualities, it also expresses the ideal form inherent in a particular type of object, and in this sense it is adjacent to the Aristotelian concept of "entelechy". The katachi character was familiar to the Japanese since ancient times, but a frequency analysis of the terms shows that neither in classical works of antiquity, nor in the works of medieval art theorists of Japan, this character was practically not used in the evaluation of works of art.

Kata turns out to be a kind of" withdrawal", an extraction from katati of a rigid, mathematically measurable template-a model. As such, the kata form is used

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first of all, in mass production (cars, standard clothing, etc.), but it has the meaning of "tradition, custom" and in this form serves as the basis for forms of ritual behavior accepted in society. In the field of art, an artist must practice for a long time, using traditional models of kata as a model, before creating his work — a new form, in particular senu tokoro ga omoshiroki - the ability to arouse interest in the absence of visible action - katachi.

And finally, sugata-form-an image that appears in the consciousness (in memory) of a person when perceiving (remembering) both of the above forms. This form is the most emotionally intense, it does not have a clear outline, and it relates more to the essence of the thing, rather than to its external appearance. This is a kind of "aftertaste"," trace on the water", left by a mobile fragment of being. In ancient Japanese, the seven characters were read exactly like this. Two of them play a special role in the history of aesthetic thought in Japan. The first one is still used to denote the form. The second one now has the main meaning of "wind", which is very important, because it gives the concept of sugata through a general reading a shade of mobile, invisible, immaterial energy.

Since the Heian period, art theorists have contrasted the form (in any of its guises) "to the heart" - kokoro. As already mentioned, it is the heart in the traditional aesthetics of the Far East that comprehends the "form of the formless", the "sound of the soundless" - that is, the subtlety of the innumerable and continuous metamorphoses of the Tao-being integrated into the invisible networks of changes that entangle being. The mysterious depth of the primordial basis of the universe, from which all things "float" together with their forms, is accessible to the heart. The form acts as a material in relation to the heart.

Matsuo Basu continued this trend of "invisible", "unmanifested" beauty, who interpreted the concept of "wandering" as one of the traditional forms of holistic, body-mental perception of reality. The experience of long-term inconveniences associated with walking pilgrimage, the alternation of seasons, "embedding" in their unhurried but steady rhythm gave the artist the right to speak on behalf of nature, to create "on the border" of his " I " and the universe [Skvortsova, 2010, pp. 32-47]. For the modern Japanese, who are used to dealing with a well-structured theory that explains human nature using static categories and concepts, such" body " concepts of traditional aesthetics as sabi, wabi, nioi, hibiki, utsuri, hosomi are obscure and incomprehensible. Fable's theory of the "mind of the body" places its concepts "on the border" of the " I "and Nature, which permeates the" I " at all levels and is therefore not separated from the artist by an invisible wall.

The most eloquent in this respect is the concept of shiori, meaning "infiltration", "penetration". It demonstrates the indistinctness, vagueness, mobility of the border of the " I " and "world", subject and object. Like shiori, other categories of medieval Japanese aesthetics describe the whole experience of the "mind of the body", which is an integral subordinate part of the general mind of Nature (the universe), which is called Tao in Confucianism and Taoism and Dharmakaya (body of Law) in Buddhism. Creating a work of art, the artist "holds" both planes of being: the manifest (in forms of varying degrees of clarity and calculability) and the unmanifested, deep. This invisible race of being is always "between"; between the become and the becoming, the present and the future, darkness and light. The hidden, implicit content in a work of art is immeasurably more important than the external form.

Imamichi Tomonobu paid considerable attention to the" aesthetics of movement", in the framework of which he contrasted the traditional aesthetics of China and Japan with the" aesthetics of form " of Ancient Greece. In the Far East, the scientist writes, the main thing in a work of art is not the external form; and vision, through which this form is perceived , is not at all the main organ of perception of beauty. The main thing in perception is the heart, kokoro. Beauty lies not in the form, but in what lies "under" the form, which depends on the form, but in no way is exhausted by it. The form is just a sign,

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a symbol of an evoked sensory image that does not have, in fact, a certain visible form. Thus, the task of a work of art is to evoke a certain emotional state with the help of a form.

The Japanese philosopher calls classical national aesthetics " the aesthetics of the wind." "Wind" in this case is similar to "form" — sugata in Japanese art. "The shape of the wind," as Imamiti poetically writes, is known through the rustling and swaying of the leaves on the trees:"...This is how the plant aesthetic worldview is completed in the aesthetics of the wind" (Imamiti, 1985, p. 278). In this case, the shape of the wobbling leaves and their rustling have nothing to do with the origin of the nature of the wind, but we learn about its mobile essence precisely by the visual and sound forms taken by the leaves.

Japan inherited a similar view of art from Ancient China, where one of the main aesthetic principles was the "soulful rhythm of living movement" (the term of E. V. Zavadskaya). Of course, the "aesthetics of the wind" originated under the influence of views formed primarily in the mainstream of Taoism. The concept of " wind "as a metaphor for the Tao, a dark formless force that determines the infinite sequence and order of changes in the universe, first appeared in the treatise of Chuang Tzu, following the similar metaphor of" water " from the treatise of Lao Tzu.

Both of these elements do not have constant outlines, static forms, and we can only judge their nature by indirect signs, the perception of which is the essence of Far Eastern aesthetics. It is around the concept of "wind" that the circle of terms describing the aesthetic experience of the medieval Japanese was formed. The implicit order of the Tao was manifested through the cultivation and use of refined senses, the ability to distinguish the smallest nuances and shades in traditional art (in the line and color of the artist's picture, the actor's gesture, the drawing of the role or nuance of the expression of the face of the mask, in the pattern of the fabric, etc.).

In fact, the "aesthetics of the wind "is a metaphor for the" mind of the body", which comprehends the movements of the universe in the" here and now " mode, i.e. in a mobile form. The center of such comprehension is the "heart" - a kokoro - sensitive and at the same time reflexive organ. Kokoro is the source of the" common sense " (ketsu kanjo), which brings together the data of all five senses of a person into a living, mobile unity.

Thus, the main difference between the Far Eastern understanding of form, in comparison with the Western one, originating in Ancient Greece (eidos, entelechy), is the relatively small value of the external in comparison with the internal, more precisely, the form in relation to the formless. Even in pre-Buddhist and pre-Confucian Japan, beauty was associated primarily with a sense of love and self-sacrifice, as evidenced by ancient chronicles and the first poetry anthology of the VIII century "Manyoshu", and the movement of the soul was evaluated as beautiful in the first place.

From the mainland culture, the Japanese inherited the understanding of true knowledge not as a discursive system of verbally formed texts, but as a kind of" heart response " to elusive images that are not revealed to the gross human senses, which have yet to be embodied in the forms of the material world. "There is, as it were, an 'innate', originally given revelation of life, for each person, in the depth of his experience, has access to the truth of being, which is as obvious as it is elusive for logical formulas. And the more it is intelligible to the inner experience, the more it is hidden in the world of everything reified and external" [Malyavin, 2002, p. 5]. Reading the famous treatise "Daodejing", one comes to the conclusion that "reality has a kind of double bottom, a certain inner secret, only symbolically denoted depth" [Malyavin, 2002, p. 17]. Te is the embodiment of the Tao in itself; the sage has the fullness of Te, i.e., his entire bodily organization, captures the not yet embodied trends of the Tao: "... one cannot form knowledge about the path - one can only pass it "[Malyavin, 2002, p. 7].

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Ancient masters taught their students not so much the art of reproducing the forms minted by tradition (although this was a mandatory stage of training), but rather the comprehension of what is "above", "before", "outside", "beyond" the boundaries of the form. To become a master means to reach such a state of "spiritualization of the body", when "in one movement the spirituality of the whole body should be realized" [ibid., p. 17].

In conclusion, I would like to emphasize once again the enduring value of the aesthetic experience of the Far East. At the present time, when there is an urgent need in aesthetic theory to develop not only discursive, but also sensuous, so-called body thinking, the study of traditional Japanese aesthetics with its priority of "body mind" can be very useful.

list of literature

Gadamer H. G. Istina i metod [Truth and method]. Fundamentals of Philosophical Hermeneutics, Moscow, 1988.
Grigorieva T. P. Japanese Art Tradition, Moscow, 1979.
Ermakova L. M. Shinto image of the world and questions of poetics of classical Japanese literature. Specificity of the artistic image, Moscow, 1983.
Imamichi Tomonobu. Toyo-no bigaku (Aesthetics of the Far East). Tokyo, 1985 (in Japanese).

Lutsky A. L. Japanese spiritual tradition and existentialism / / Peoples of Asia and Africa. 1986. № 3.

Malyavin V. V. Martial arts: China, Japan, Moscow, 2002.
Navlitskaya G. M. Osaka, Moscow, 1983.
Onishi Yoshinori. Yugen to avare (Yugen and avare). Tokyo, 1939 (in Japanese).

Onishi Yoshinori. Fugaron (Theory of Beauty). Tokyo, 1940 (in Japanese).

Poeticheskaya antologiya Kokinshu [Poetic Anthology of Kokinshu], translated and commented by I. L. Boronina, Moscow, 2005.

Sanovich V. Ocherk yap'skoy klassicheskoi lyriki [Essay on Japanese classical Lyrics]. Klassicheskaya poeziya Indii, Kitai, Korei, V Nama i Japanii [Classical poetry of India, China, Korea, Vietnam and Japan], Ser. BVL. Moscow, 1977.

Skvortsova E. L. Wanderings as the artist's way in traditional Japan. 2010. № 3.

Skvortsova E. L. Japanese Artistic Tradition and Romanticism (in the light of the problem of interaction between the "mind of the body" in the East and discursive knowledge of the West). 2011. № 3.

Skvortsova E. L., Lutsky A. L. On the problem of perception of Western philosophy in Japan // Questions of philosophy. 1985. № 10.

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