By Donald Richie
This provocative booklet is a tractate—a treatise—on good looks in eastern artwork, written within the demeanour of a zuihitsu, a free-ranging collection of rules that “follow the brush” anywhere it leads. Donald Richie seems at how perceptual values in Japan have been drawn from uncooked nature after which converted through stylish expressions of sophistication and flavor. He explains aesthetic thoughts like wabi, sabi, conscious, and yugen, and ponders their relevance in artwork and cinema today.
Donald Richie is the most important explorer of eastern tradition in English, and this paintings is the end result of sixty years of gazing and writing from his domestic in Tokyo.
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Against . . ”10 Clearly, Bachelard continues to have much to say, both to those interested in epistemological questions and to students of the literary imagination. Will that continue? Or will one of the two aspects of his work eventually eclipse the other? The questions are speculative, of course, but they do lead to the related question of Bachelard’s unity for which the text rather than an inscrutable future can be consulted. 11 The issue may never be resolved in any satisfactory way, but, as subsequent chapters will show, its consideration is unavoidable in any serious treatment of Bachelard.
The same year he took an entrance examination for one of two openings in the École supérieure de télégraphie only to be refused admission when he placed third. Undeterred, he took a leave of absence from the Post Ofﬁce, obtained a scholarship in mathematics from the Lycée Saint Louis, and prepared for the elimination examination offered to engineering students in telegraphy. But his life was soon interrupted by the outbreak of World War I. Married only three months, he was mobilized in 1914 and fought in the trenches for over three years.
Science invents its own objects, The New Scientiﬁc Mind 25 it constructs its own world, subject only to eventual conﬁrmation of its constructs by experimentation. Bachelard suggests that, in contemporary science, where a “phenomenotechnique . . , 12). It is a transcendent science in the sense that it goes beyond not only immediate reality but also earlier systems of science and mathematics by restructuring them on a new basis rather than by denying their validity altogether. Just as common reality is transformed by science, so is the geometry of Euclid transformed by subsequent geometries, the mechanics of Newton by subsequent physics, and, ultimately, the epistemology of Descartes by subsequent epistemology.