This collection of twenty-one essays constitutes the first history of modern Japanese aesthetics in any language. It introduces readers through lucid and readable translations to works on the philosophy of art written by major Japanese thinkers from the late nineteenth century to the present. Selected from a variety of sources, the essays cover topics related to the study of beauty in art and nature.

This collection of essays constitutes the first history of modern Japanese aesthetics in any language. It introduces readers through lucid and readable translations to works on the philosophy of art written by major Japanese thinkers from the late nineteenth century to the present. Selected from a variety of sources (monographs, journals, catalogues), the essays cover topics related to the study of beauty in art and nature. The translations are organized into four parts. The first, "The Introduction of Aesthetics," traces the formation of notions of "beauty," "culture," and "art" in Japan. It includes discussion of the creation of the museum in Japan and the frenetic efforts of Nishi Amane, Okakura Tenshin, Ernest Fenollosa, and Mori Ogai to introduce German, British, and French aesthetic thought to the Japanese. This is followed by three sections that examine the transformation of the aesthetic field into an academic discipline that flourished at three major Japanese universities. "Aesthetics at Waseda University" begins with an essay on the spiritualism and idealism of Onishi Hajime and continues with essays on the impact of German Lebensphilosophie ("philosophy of life") on Shimamura Hogetsu and Takayama Chogyu, and work by the major Waseda aesthetician of the twentieth century, Aizu Yaichi. Thinkers of the Tokyo School adopted a "scientific" method in the study of art theory. Part 3, "Aesthetics at the University of Tokyo," focuses on the ideas of Otsuka Yasuji (holder of the world's first Chair of Aesthetics), Onishi Yoshinori, Watsuji Tetsuro, Abe Jiro, Takeuchi Toshio, and Imamichi Tomonobu. The section concludes with a look at the contemporary philosopher Sakabe Megumi. The last section, "Aesthetics at the University of Kyoto," includes essays on Nakagawa Shigeki and Fukada Yasukazu, pioneers in the field of aesthetics, and on the philosophy of art of the "Kyoto School," which was deeply inspired by the thought of Nishida Kitaro. Finally the work of Kuki Shuzo, an influential teacher of Western philosophy at the University of Kyoto, is examined. A History of Modern Japanese Aesthetics is a companion volume to Modern Japanese Aesthetics: A Reader (UH Press, 1999).

One of Japan's most renowned intellectuals, Motoori Norinaga (1730-1801) is perhaps best known for his notion of mono no aware, a detailed description of the workings of emotions as the precondition for the poetic act. As a poet and a theoretician of poetry, Norinaga had a keen eye for etymologies and other archaeological practices aimed at recovering the depth and richness of the Japanese language. This volume contains his major works on the Yamato region - the heartland of Japanese culture - including one of his most famous poetic diaries, ""The Sedge Hat Diary"" (""Sugagasa no Nikki""), translated into English here for the first time. Written in 1772 while Norinaga journeyed through Yamato and the Yoshino area, ""The Sedge Hat Diary"" was composed in the style of Heian prose and is interspersed with fifty-five poems. It offers important insights into Norinaga the poet, the scholar of ancient texts, the devout believer in Shinto deities, and the archaeologist searching for traces of ancient capitals, palaces, shrines, and imperial tombs of the pre-Nara period. In this piece Norinaga presents Yoshino as a ""common poetic space"" that readers must inhabit to develop the ""common sense"" that makes them live ethically in the poet's ideal society. Norinaga's ideal society is deeply imbued with the knowledge of poetry and the understanding of emotions as evidenced in the translation of Norinaga's twenty-six songs on aware (pathos) also included here. The rest of the volume offers translations of several essays by the poet that shed further light on the places he visited in Yoshino and on the main topic of his scholarly interests: the sound of the uta (songs) from his beloved Yamato. An introductory essay on Norinaga's poetics serves as a guide through the dense arguments he developed both practically in his poems and theoretically in his essays.