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What is the difference between loneliness, mystery and mourning in Japanese culture?
? Sad? It is a literary concept. Mysterious? Is it an aesthetic consciousness? Silence? It is an ideology, and at the same time, these three books are also the names of three Japanese aesthetic books. Their respective time of appearance and literary style are very different.

What is the core idea of silence? Imperfect things make more sense? In other words, we should find beauty in imperfect things. Both the words "one" and "extreme" have negative meanings. At first, everyone was unwilling to accept this word. However, with the development of the times, people gradually realize that simple and simple things can still surprise people, even more meaningful than perfect things, so they begin to encourage everyone to accept imperfections and find beauty in imperfect things. Nowadays, the understanding of loneliness is an optimistic attitude, and it can maintain a positive attitude even in danger. There is a silent expression in the Japanese drama Indigo's Mood.

Mystery is a higher level of aesthetic consciousness, which is about the hidden connotation of things. Many times, we can only see the surface of things intuitively, but it is not easy to find the profound meaning implied through the surface, and often the profound things are more shocking. Or when we express the beauty of a thing, leave a little suspense for everyone to imagine freely, so that we can better feel the connotation and essence of things, such as Japanese ukiyo-e painting? Mysterious? The embodiment. So what you are talking about is the essential thing that can't be seen through the simple surface, which is somewhat similar to the emptiness in China culture.

Sorrow is simply human emotion, which is equivalent to what China said. When we are in contact with the outside world and perceive the external environment through our own senses, we often trigger some emotions. Sad? It refers to the sadness in these emotions, the sigh of life, the sigh of impermanence, and the regret that we can sometimes do nothing about nature after contacting it. In the film Love Letter, this expression is adopted.