Kawabata Yasunari 1899 was born in Sujiuzhuang, Fengchuan Village, Mishima Prefecture, Osaka Prefecture near Kyoto. Kang Cheng "takes the literature of Kyoto dynasty as the cradle, and also takes the natural green rhyme of Kyoto as the cradle to feed himself". Grandparents used to be a big family and were called "country aristocrats". After their career failed, they pinned their hopes on Kang Cheng's father, Rongji, who completed his studies at Tokyo Medical University, was listed as a doctor and concurrently served as the vice president of a hospital in Osaka. When Kang Cheng was one or two years old, his parents died of tuberculosis. Grandparents took Kang Cheng back to their hometown after fifteen years' absence, and my sister Fangzi was fostered in the uncle Akioka's family. Kang Cheng is very weak because of congenital deficiency. The two old people doted on their grandson too much, fearing that he would go out and get into trouble, and let him live in a damp farmhouse all day. The young orphan has little contact with the outside world, "turned into a stubborn and twisted person", "locked his timid heart in a small body, and felt depressed and distressed for it". Until elementary school, he "had no idea that there was another world besides his grandparents".
After Kang Cheng went to primary school, in less than three years, his grandmother and sister abandoned him one after another. Since then, he has lived alone with his elderly grandfather. Grandpa is blind and hard of hearing. He sits alone in his hospital bed crying all day and often says to Kang Cheng, "We live by crying!" " ! This cast a lonely shadow on Kang Cheng's naive mind. Kang Cheng's orphan experience culminated in the loss of his grandfather.
For Kang Cheng, he went to the funerals of his relatives one after another and attended countless funerals. People jokingly called him "a celebrity attending a funeral". In his childhood, he did not feel the warmth of the world. On the contrary, he was permeated with profound and insurmountable factors of melancholy and sadness, and a sense of illusion about life and fear of death constantly emerged in his heart. This deformed family and lonely life are the important reasons for Kawabata Yasunari's relatively withdrawn and introverted personality and temperament. This prompted him to break into the forest early. He has borrowed all the books in the primary school library. At this time, he began to look forward to literature.
19 13, Yasunari Kawabata was promoted to Ritsumi Middle School in Osaka Prefecture, still immersed in literary books tirelessly, and began to get in touch with some famous books. He never stopped taking notes and recorded all the wonderful descriptions in his works in detail. His Chinese department and Chinese language and literature are the best, and his composition is second to none in his class. 19 14 in may, when my grandfather was seriously ill, he waited beside his sickbed, reading the sad words in the Tale of Genji, in order to drive himself away, indulge in sadness, and determined to record his grandfather's dying scene, so he wrote the Sixteen-year-old Diary. This "Diary of Sixteen" is not only a sketch of Kang Cheng's painful reality, but also a poetic sentiment infiltrated in the cold reality, and it also reveals the clue of Kang Cheng's creative talent. In autumn, he bound the poems he had written in the past into volumes, which were called "The First Valley Hall Collection" and "The Second Valley Hall Collection". The former mainly includes 32 poems of his new style, while the latter is a composition for primary and secondary schools. It can be seen that Kang Cheng, a teenager, has begun to have the consciousness of scholars and sprouted his initial desire to write.
At this time, Kawabata Yasunari decided to be a novelist and began to send haiku and short stories to publications, which were not adopted at first. It was not until the summer of 19 15 that several of his haiku poems were published in Article World. Since then, he has dabbled in the world and Japan's ancient and modern masters. Although he didn't understand the meaning of Tale of Genji, he only read the pronunciation and appreciated the beautiful lyrical tone of the article, but he was deeply attracted by its style and rhythm. This experience had a profound influence on his later literary creation. Later, when he was writing, the song-like melody of his youth still echoed in his heart.
19 16, four or five harmony songs and nine essays were published for the first time in Tsukimu tabloid "Kyosaka News", and in the same year, a teacher's coffin was published in Osaka's "Chaos" magazine. This year, he often wrote essays and essays, that is, mini-novels, for Article World. Article World held a poll to elect "Twelve Scholars", and Yasunari Kawabata ranked 1 1. This is a memorable year for teenagers who are determined to become writers.
Kawabata Yasunari 19 17 After graduating from Cimu Middle School in March, he was admitted to this top-ranked institution of higher learning. When he arrived in Tokyo, he began to have direct contact with the current situation of Japanese literary world, and the writers and works of "Birch School" and "New Wave School" and popular Russian literature opened his eyes. He published his first exercise, Chiyo, in the June issue of the magazine of the Middle School Alumni Association (19 19), and described his love story with three Chiyo girls with the same name with faint strokes.
In fact, after Kawabata Yasunari became an adult, he came into contact with four women named Chiyo in succession and had feelings for them to varying degrees. Among them, Izu's dancer Chiyo and Qifu's dancer Chiyo aroused great emotional waves.
Chiyoyo Izu dancers met when they traveled to Izu Peninsula after Kawabata Yasunari entered high school. He was treated equally by dancers for the first time and said that he was a good man, so he had a pure friendship with her. Similarly, dancers who are discriminated against and humiliated will naturally arouse emotional ripples when they meet such friendly classmates and treat themselves equally. They established a sincere and frank friendship with each other, and they also showed a little love for each other. Since then, this beautiful dancer, "like the tail of a comet, has been flashing in my memory."
Chiyo Chiyo, formerly known as Chiyo Ito, met Yasunari Kawabata in a cafe in Tokyo just after he went to college, and soon they got engaged. Later, for some unknown reason, the woman tore up the engagement on the grounds of "special circumstances". He was betrayed by people who could not understand him. He struggled to support himself and left a scar on his mind that could not be healed for a long time. From then on, I developed a kind of timidity and inferiority, never dared to pour out my love to women frankly, fell into self-repression, suffocation and distortion, became more withdrawn and believed in fate more.
1July, 920 to1March, 924, in college, Kawabata Yasunari reformed and updated literature and art to challenge the literary world at that time, and reissued New Ideas (the sixth time) together with students who loved literature, and published "A Scene of Evocation Festival" in the inaugural issue, describing the tragic life of circus actresses. Kawabata Yasunari's name first appeared in the Yearbook of Literature and Art, marking the official entry of literary youth into the literary world.
After Kawabata Yasunari published "The Scene of the Soul Festival", he often went to Izutang Island with melancholy feelings because of frustration in his emotional life, and wrote the unfinished "Memories of Tangdao". 1923 1 After the publication of Literature Chunqiu magazine, he wrote short stories "Melancholy in Lin Jinhua" and "Celebrities Attending Funeral" for the magazine in order to tell and vent his anguish. At the same time, under the interweaving of love and hate, he wrote a series of novels, such as Extraordinary, Fire in the South and The First Work. Some of them are written directly based on his love affairs, and some are fictional. To sum up, Kawabata Yasunari's creation at this stage mainly describes the life of orphans, shows his deep nostalgia and grief for his deceased relatives, describes his own love twists and turns, and describes his frustrated troubles and sorrows. These novels constitute a remarkable feature of Kawabata Yasunari's early works. The sentimental tone of these works, as well as the difficult loneliness and melancholy, runs through his whole creative career and becomes the main tone of his works. Kawabata Yasunari himself said: "This kind of orphan's sorrow has become the undercurrent of my first novel", "maybe it is the undercurrent of all my works and the whole career". During his college years, Kawabata Yasunari not only wrote novels, but also wrote more literary criticism and literary criticism, which became an important part of his early literary activities.
1924 After graduating from university, Yasunari Kawabata and Hiroshi Yoko launched the New Sensory Literature Movement and published a famous paper, Explaining the New Tendency of New Writers. In a sense, it plays a guiding role in the creative method and movement direction of the new sensation writers. However, in creative practice, he didn't make much achievements, only wrote several works with some characteristics of neo-sensualism, such as Stamens of Plum Blossoms and Red Flowers of Asakusa, and he was even regarded as a "heresy in neo-sensualism" by critics. Later, he himself publicly stated that he didn't want to be their fellow traveler and was determined to take his own unique literary road. His famous work Dancer of Izu is an attempt to open up a new path in art and to maintain the traditional color of Japanese literature on the basis of absorbing the new sensibility of western literature.
Kawabata Yasunari turned from neo-sentimentalism to new psychology, and sought his own way out from the creative technique of stream of consciousness. He first tried to write Needle, Glass and Fog and Crystal Fantasy (193 1), in an attempt to get rid of the neo-sensualism and introduce Joyce's stream of consciousness and Freud's psychoanalysis, thus becoming one of the earliest new psychological works in Japanese literature. In the application of stream of consciousness, crystal fantasy is more skillful than needle, glass and fog. The story describes a barren woman who imagines her husband who studies eugenics through the three mirrors of a dressing table, and lets a male dog mate with a barren bitch, which makes her have sexual fantasies and a strong sense of reproduction, revealing an ugly moan. The description of "inner monologue" in creative techniques is intertwined with fantasy and free association, which obviously shows the decadent tendency of western literature in ideological content.
In the second year, Kawabata Yasunari turned to the other extreme, and uncritically used the reincarnation thought of Buddhism to create lyric songs. With the help of spiritual dialogue with the dead, he described an abandoned woman and called on a dead man to tell his true feelings, which was full of oriental mysticism. This kind of Buddhist thinking and nothingness of "soul resonance" also runs through his Song of Comfort.
Kawabata Yasunari's exploratory creative path shows that he did not have a deep understanding of the problems of western literature at first, but only relied on his keen sense to blindly learn from western modernism, that is, simply transplanted horizontally. Later, he realized that this road was impossible, completely negating western modernist literature, completely leaning towards Japanese traditionalism, and completely inheriting Japanese Buddhist philosophy, especially the idea of reincarnation. Without analysis, it is simply vertical inheritance. Finally, I began to sort out my own literary logic in two extreme opposites, resulting in an impulse and conscious understanding of criticizing traditional literature and western literature. At this time, he deeply explored the connotation of humanistic idealism in Japanese tradition and western literature, and explored the internal coordination between them in his works. Finally, based on tradition, he absorbed the skills and expression methods of western literature. Even after absorbing western literary ideas and concepts, they began to pay attention to Japanese. Snow Country was born in this kind of thinking about the comparative exchange of eastern and western literature.
To sum up, the success of Kawabata literature is mainly manifested in the following three aspects: first, the integration of traditional cultural spirit and modern consciousness shows the spirit of humanistic idealism and the rationality and feelings of modern people, and at the same time, it introduces deep psychological analysis and integrates Japanese realism and oriental idealism. The second is the integration of traditional natural description and modern psychological description. By using Freud's psychoanalysis and Joyce's stream of consciousness, we can dig deep into the inner world of the characters, and integrate ourselves with nature, and integrate nature into the stream of consciousness of the characters, thus playing the role of "integrating things with me", thus showing the emotional world of the characters under the guise of nature. The third is the leap-forward integration of traditional neatness and stream of consciousness. According to the principle of modern deep psychology, the scope of association and memory is expanded, and at the same time, it is restrained by the traditional solid, rigorous and neat structure to keep it harmonious. The integration of these three factors deepened the tradition and formed the basic characteristics of its literature.
Kawabata Yasunari's aesthetic thought is based on the beauty of the East and Japan, which is closely related to his love for the East and Japanese traditions. His aesthetics are basically traditional sadness, elegance and metaphysics.
The gorgeous color of "mourning things" in Chuanduan literature inherits the spirit of mourning things formed by the Heian Dynasty centered on The Tale of Genji, which often contains the meaning of sadness and sympathy. That is, it is not only an explanation of sadness, sadness and misery, but also contains the meaning of pity, compassion, emotion, sympathy and grandeur. His complete understanding of mourning for things has become the basic principle of his aesthetic thought and occupies the most important position among the aesthetic objects in Zhuan Duan. He often emphasized that "the elegance and sadness of the Heian Dynasty became the origin of Japanese beauty" and that "the word sadness is connected with beauty". Most of the "sadness" in his works is sadness and sympathy, and simple, profound and moving feelings such as appreciation, love, sympathy, pity and sorrow for the little people are expressed by chanting. In other words, with his sadness for the object and sympathy for the subject, he endowed many kind lower-class female characters with tragic emotional appeal and formed a touching and beautiful artistic image. Writers often associate their sadness with innocence and simplicity, showing the most vivid and gentle female beauty. And many times the sadness of these girls is very real, without any hypocrisy. This kind of beauty, on the surface, is sometimes beautifully decorated, elegant and even romantic, but it contains more and more lamentations, with a deep and slender tragic character, interwoven with women's sadness and resentment about their tragic situation. On this basis, the writer further blurs the distance between the object and himself, melts his sympathy and pity into the hazy consciousness of the object's lament, and presents a sentimental state like pity. It can be said that this kind of sympathetic sadness comes from the writer's sympathy for the lower class girls and is the natural expression of one of the purest feelings of human beings. The "mourning" and "elegance" embodied in the Tale of Genji have become the source of literary beauty in Chuanduan.
Although Kawabata Yasunari was influenced by the spirit of "mourning for things" in The Tale of Genji, he mostly started from feelings, and did not rely entirely on emotional factors such as sadness and sympathy. Some of them were conflicts caused by ethical forces, which led to tragedies. Some of his characters have a tragic ending in the conflict between old and new things, old and new morality and old ideas. On the one hand, they have a sad color, on the other hand, they contain magnificent elements, which show the beauty of the soul, sentiment, spirit and even death of the characters. This "sadness" itself melts Japanese-style comfort and salvation. Some tragic characters in his works show their conflicts with family, morality and even society. This tragic and beautiful element naturally arouses people's sympathy and pity. Kawabata Yasunari's aesthetic consciousness does not completely obliterate the rational content, but it still has certain social and ethical functions, which shows that the writer does not lack the ability to grasp social life. This is a tendency that cannot be ignored in Yasunari Kawabata's aesthetics.
Of course, sometimes Yasunari Kawabata also separates "things" from "mourning", emphasizing "mourning", blurring the face of "things", deliberately exaggerating the side of "mourning" and increasingly taking "mourning" as the aesthetic subject. He let most of the tragic characters in his works be bound by personal circumstances and emotional sadness, indulge in inner contradictions and entanglements, excessively pursue the depressing effect of tragedy, and use a low and compassionate tone. In particular, efforts are made to render the romantic, lascivious and aesthetic attributes contained in "elegance" and exaggerate this emotional factor in aesthetic feeling as the essence of aesthetic feeling and even the creation of beauty. Therefore, he often combines immoral behavior with sad feelings, transcends the ethical framework and praises instinctive lust. In his works, Tale of Genji shows the functional color of the beauty of Leng Yan, a dynasty aristocrat. This aesthetic consciousness of Kawabata Yasunari is not only a matter of personal feelings, but also a kind of aesthetic consciousness dominated by the times, which specifically reflects the social confusion, confusion and the sinking of the world in this post-war era. The writer combines the sorrow of Japan and the times with his own sorrow, and pursues a kind of sad and dying beauty. Especially under the impact of western "pessimistic philosophy" and "mysticism", Kawabata Yasunari found his own basis in this traditional Japanese aesthetic thought, thus finding the intersection of eastern and western thoughts at the end of the century. This is obviously a decadent mood.
Kawabata Yasunari inherited the Japanese classical tradition of "mourning things" and permeated with the influence of Zen. Another feature of Kawabata Yasunari's aesthetics is the impermanent influence centered on the formula of "life-death-life" and the emphasis on the concepts of mystery, impermanence and nothingness in the sense of beauty.
Kawabata Yasunari was deeply influenced by Zen. He himself said, "I grew up in a strong Buddhist atmosphere", "The children's songs of the ancient Buddha are also connected with my heart" and "all kinds of Buddhist scriptures are unparalleled and precious lyric poems". He believes that absorbing religious spirit is also a tradition that needs to be inherited today. He always regards "samsara" as "the only key to clarify the mystery of the universe, and it is also one of the most beautiful concepts that human beings have". Therefore, in aesthetic consciousness, he attached great importance to the "metaphysical" thought of Zen Buddhism, so that "mourning for things" strengthened Leng Yan's factors and paid more attention to the expression of "heart" rather than "things" in order to seek a quiet and introspective world and maintain a transcendental spiritual realm. But this is not to strengthen religious color, but a pure spiritual aesthetic consciousness.
Therefore, the formation of Kawabata Yasunari's aesthetic thought can't be separated from the influence of Zen's "mystery", which is embodied in its aesthetic taste as an abstract mystery, including three elements: mystery, sadness and Leng Yan. First of all, he advocates "nothing" and stares at the reality of the impermanent world in the extremely poor "nothing". The "nothing" he advocates, or "emptiness", is not completely equivalent to the state of nothingness that is often put forward by western nihilism, but thinks that "nothing" is the greatest "being", the spiritual essence of "being" and the source of all life. Therefore, his birth, passive retirement and abandonment of the world are not a complete denial of life, but a cherished attitude towards natural life. He said: "Nothing in this world is more colorful than a fairy-tale dream interwoven with the teachings of reincarnation." Therefore, Kawabata Yasunari believes that the illusion of art is not nothingness, but comes from "being" rather than "nothing".
From this point of view, he believes that reincarnation is "eternal life and death", people die and the soul is immortal, life is death, and death is life. In order to deny death, we must be sure of death; That is, summing up life and death. He thinks that existence and nothingness are meaningful, and he does not regard death as the end, but as the starting point. From the aesthetic point of view, he thinks that death is the highest art and a manifestation of beauty. In other words, the ultimate of art is death. His aesthetic taste is associated with death, and nearly one third of his works are associated with death. The author thinks that beauty only exists in emptiness, only in illusion, but not in the real world. Perhaps he was exposed to too many deaths in the process of forming his world outlook and outlook on life as a teenager. He "smells death" in his daily life, and he is afraid of death. He feels that life is surrounded by death, which is an extension of life and life is impermanent. It seems that "life and death are illusions". Therefore, he pays more attention to the pursuit of "enchanting and beautiful life" from illusion and imagination, and "there seems to be a kind of beauty of death when he dies". In the writer's view, life from decline to death is a kind of "beauty of death", and only from the death of this "thing" can we deeply understand the depth of "heart". "Nothing" is full of "heart" and "nothing" is expressed with heart, which is pure spiritual beauty. Therefore, in order to seek "enlightenment to become a Buddha", "eternal life in the pure land of the West" and "seeking the immortal solution of human beings in the palace of literature and art, surpassing death", he often maintains a detached spiritual realm and looks for his own topic from religious beliefs. The emotional decline of Kawabata Yasunari's novels is also based on this mystery, and the aesthetic effect is mostly the illusion of life. He said: "I believe that oriental classics, especially Buddhist scriptures, are the largest documents in the world. I respect classics not as religious teachings, but as literary fantasies. " It can be seen that his aesthetic thought is deeply influenced by the metaphysical statement of Zen life and death. But after all, he regarded it as a "literary fantasy" rather than a "religious doctrine" and invited him to visit the "literary palace".
It can be said that "affirmation of emptiness, emptiness and negation" runs through Kawabata Yasunari's aesthetic consciousness. He is not only moved by the famous sentence of Zen poet Yi Xiuzong Chun, "It is easy to enter Buddha, but difficult to enter magic", but also shows that "artists who pursue truth, goodness and beauty are in a state of" difficult to enter magic ":they want to enter but are afraid, so they have to turn to the gods for help"; At the same time, he greatly appreciated Tagore's thought: "the eternal freedom of the soul exists in love;" Great things exist in subtleties; Find infinity in the shackles of form. From Diary of Sixteen, Celebrities Attending Funeral, Lyric Songs, Beast, Dying Eyes, etc. All of them are around the central idea of Buddhist reincarnation-"life-death-life" in an attempt to reach the "Buddhist world" through the "demon world". Complementing this is this religious consciousness, which includes loyal love and sympathy, sometimes relying on the soul, sometimes relying on love, as if "the good sympathy in literature is mostly mysterious." "The girls cultivated sad feelings from this mystery." In his aesthetic feelings, nature is best at capturing the subtle changes of girls' feelings, falling into imagination and fantasy, and producing a typical "sad beauty" centered on the impermanence of Buddhism. His works naturally pay more attention to Leng Yan, mystery and charm, and consciously increase the sense of illusion, as well as slender sadness and symbols; Irrationality often occurs in daily life and emotions, and abstract thinking is carried out. It is this religious consciousness that influences and obscures Kawabata Yasunari's philosophy of "love" and his aesthetic taste of "mystery". It not only emphasizes subtlety and mystery, but also takes Leng Yan as the keynote and has the color of oriental mysticism.
The basis of Kawabata Yasunari's aesthetics is not rationality, but irrationality. He grasps beauty through feeling and feeling, and thinks that beauty is the extreme of feeling. Moreover, sensibility and rationality are often separated and opposed, and creative activities are regarded as the expression of pure personal subjective feelings and self-awareness, which is an isolated spiritual monologue. It is believed that subjective beauty is created by "heart" and then expressed by "things". This is connected with the spirit of the middle way of Zen. Therefore, he particularly emphasized that "color is empty, and emptiness is color", and included the contradiction between "empty" and "color" in "heart", which can be described as "knowing well". Therefore, as a contradictory structure, his novels are more about the infiltration and coordination between opposites than the rejection and conflict of opposites, including truth and falsehood, beauty and ugliness, good and evil, life and death, etc. All these things exist at the same time and are contained in an absolute contradiction, then the false ugliness is purified and sublimated into beauty, and finally the spiritual surreal realm is pursued without touching the contradictory reality. For him, real life is like a strange and isolated "other shore" world, and finally he has to embark on the road of adjustment and compromise. This is an important aspect of Kawabata Yasunari's aesthetic taste.
For Kawabata Yasunari's aesthetic taste of "mystery", if the religious cloak of Zen "mystery" is stripped off, we can also see the reasonable emphasis and clever use of his hazy consciousness of "looming and wanting to show". Based on this aesthetic taste, he tried to explore its inner charm in art, which made his novels fresh and elegant in tone, hazy and mysterious in artistic conception, delicate and delicate in image, ethereal and subtle in expression, plain and meaningful, and long in charm, which made people obviously feel a kind of "mysterious" beauty.
In terms of aesthetic taste, Kawabata Yasunari pays little attention to the beauty in social life; It involves beauty in social life and also belongs to poetic and elegant daily life, such as the beauty of pure and simple love. He advocates the beauty of natural things, that is, natural beauty. In aesthetic consciousness, he paid special attention to the subjective feeling and conscious function of natural beauty. He said: "When you see the beauty of snow and the beauty of the moon, that is, the beauty of the four seasons, you realize that when you are happy because of that beauty, you will miss your bosom friend enthusiastically. I hope they share this happiness. " This is what he said: "moved by natural beauty, it strongly induces people's nostalgic feelings"; In Japan, the words' snow, moon and flowers' are traditionally used to express the beauty of seasonal changes in four seasons, including the beauty of mountains, rivers, plants, everything in the universe, everything in nature and even people's feelings. He emphasized not only the formal beauty of nature, but also the spiritual beauty of nature.
In "I'm in Beautiful Japan", he explored the roots of Japanese traditional view of nature through the poems of Zen monks such as Daoyuan, Minghui, Liang Kuan, Westbound and Yixiu. He quoted Ming Hui's poem "The winter moon is accompanied by clouds, which makes Melissa Zhou feel more sorry for the moon", "Sleeping with you every night after the moon sets" and "The artistic conception is boundless and bright, and the moon doubts me" to illustrate his poem "The heart and the moon subtly echo and interweave" and "There is beauty of the soul and sympathy and consideration". He "takes the moon as his companion" and "makes a blind date with the moon". "When I look at the moon, the moon I see is mine, but it disappears into nature and blends with nature", and even mistook his "clear mind" light for the light of the moon itself. This fusion of mind and matter of "seeing the moon for me" can be said to have reached the realm of "seeing things with me, so everything is my color" (Wang Guowei: Words on Earth).
From this viewpoint of natural aesthetics, Kawabata Yasunari often uses the technique of lines when describing general, daily and ordinary natural scenery. When describing objects, things and plots, it is more specific, meticulous and delicate, and it is painted with a stronger and more delicate subjective emotional tone. He writes about natural things, not focusing on the beauty of external forms, but focusing on the inner charm, trying to grasp natural things and find the beauty of natural things in the inner charm.
Kawabata Yasunari examines the beauty of natural things, first of all, his keen sense of seasons. Some of his novels are about seasons, such as Spring Flowers, Autumn Colors, Sisters in Late Autumn, Flowers in Winter, Lake in Winter, Cherry Blossoms in Winter, Spring Bells and Autumn Fish in Yin Shan and so on. , describes the natural feelings of the four seasons, faithfully reproduce. Moreover, with the natural beauty of the four seasons as the background, people, emotions and life feelings are integrated into the natural environment, integrated with the beauty of natural things, creating a special atmosphere with the natural gas field, highlighting people's thoughts and feelings, forming a beautiful artistic conception of blending scenes, making things inseparable and things like me, subliming natural beauty into artistic beauty and strengthening artistic aesthetic factors.
For the beauty of natural things, Kawabata Yasunari is not limited to objectively reappearing the beauty of natural things, nor to being related to people's life thoughts and feelings, but also to the national spiritual culture, so that natural things are full of people's aura. This kind of gas field does not refer to the object natural things, but refers to the subjective mood, emotion and concept, which is naturally expressed only by pen and ink. For example, the tea ceremony in "Thousand Crane" and the chess way in "Celebrities" are closely related to people's hearts and the spirit of traditional culture, and contain people's complex emotions and ups and downs. Kawabata Yasunari actively explored the beauty of traditional culture, and sought to convey people's subjective spiritual realm and charm in this beauty, which formed his unique aesthetic personality.
Looking back on the whole creative process of Kawabata Yasunari, he found his position on the coordinate axis of the combination of eastern and western cultures, found the application of national aesthetic habits, excavated the deepest things of Japanese culture and the widest things of western culture, and integrated them to form the beauty of Kawabata Yasunari's literature. In other words, he grasped the modern consciousness and skills of western literature in time, re-evaluated the value and modern significance of Japanese tradition, adjusted the complex relationship between tradition and modernity, and made it move from opposition to reconciliation and integration, thus making Chuanduan literature not only special and national, but also universal and cosmopolitan. In Kawabata Yasunari's own words, "he is a Japanese, an Oriental and a Westerner". It can be said that Kawabata Yasunari's creative influence is beyond the scope of Japan and not limited to art, which is of great significance and enlightenment to promote people to re-examine oriental culture. It can be said that he has made his own contribution to the development of Japanese literature and the exchange of eastern and western literature. 1968, the Nobel Foundation awarded him Nobel Prize in Literature in recognition of his keen feelings and superb novel skills, which showed the essence of the Japanese people.
A passage about Kawabata Yasunari written by Yukio Mishima is of universal significance not only for understanding Kawabata Yasunari's literature, but also for understanding the internal regularity and external inevitability of the development of modern Japanese literature. Now copy it as follows:
"Japanese-born artists are forced to constantly criticize Japanese culture and sort out what really belongs to their own customs and instincts from the confusion of eastern and western cultures. Only those who have achieved tangible results in this respect are successful. Of course, since we are Japanese, the closer we are to Japan, the greater the possibility of success. This cannot be explained simply by returning to Japan, because it is related to the instinct and endowment of every writer. Anyone who wants to get close to the west can't succeed. " (Kawabata Yasunari's Eastern and Western Seas)
These are professional comments. I found it for you. My view of Kang is beautiful, fresh and slim! Hmm. How interesting
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