Suzuki Daisetsu’s and Hisamatsu Shin’ichi’s discussions on East Asian arts, dramatic art and ‘Zen’
In recent history, Suzuki Daisetsu’s Zen to Nihon bunka and Hisamatsu Shin’ichi’s Zen to bijutsu have defined the East Asian cultural complex as ‘Zen.’ However, the basic characteristics they attributed to ‘Zen’ may not be able to be associated with Zen 禪 (Ch. Chan) in history. From a historical per...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Routledge, Taylor & Francis Group
2023
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| In: |
Studies in Chinese Religions
Year: 2023, Volume: 9, Issue: 2, Pages: 167-192 |
| Further subjects: | B
Hisamatsu Shin’ichi
B discussions on the East and Japan B Japanese culture B discussions on Zen (Chan) B Suzuki Daisetsu |
| Online Access: |
Volltext (lizenzpflichtig) |
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| 520 | |a In recent history, Suzuki Daisetsu’s Zen to Nihon bunka and Hisamatsu Shin’ichi’s Zen to bijutsu have defined the East Asian cultural complex as ‘Zen.’ However, the basic characteristics they attributed to ‘Zen’ may not be able to be associated with Zen 禪 (Ch. Chan) in history. From a historical perspective, the specific examples of artworks and performing arts, such as the paintings from Song-Yuan China and Japanese Nō performances, cannot be regarded as Zen. Suzuki also stated that ‘Zen’ is equivalent to ‘Japanese culture,’ a statement which lacks historical validity. At the same time, he used the concepts of ‘Japan’ and ‘the East’ to study the Chinese-made artworks he quoted as examples, making his arguments ambiguous and self-contradictory. On the other hand, although Hisamatsu’s arguments were more aligned with facts when he saw China, Korea and Japan as three distinct geographic entities, he also exhibited a tendency to associate the cultures that match his preferences with ‘Zen.’ Thus, it is hard to view his arguments from an academic perspective. Nevertheless, both works have served as primers through which readers can understand Zen and East Asian culture. Therefore, nowadays we must discuss their arguments from an academic standpoint and offer objective critiques of their arguments. | ||
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