物哀

日本传统美学理念“物哀”、“风雅”渗透了川端康成的文章。

Traditional Japanese aesthetic philosophy " of sorrow " and " Fuga " infiltrated Yasunari Kawabata articles .

中国现代留学日本、欧美作家群之比较以悲为美的审美情趣&日本文学理念物哀试析

Comparisons between the Groups of Writers Studied in Japan and in Europe and America in Modern Chinese Literature History

物哀之美&从《伊豆的舞女》看川端康成前期小说创作的审美意识

The Beauty of Sadness to Creatures & See Chuan 's Early Aesthetic Consciousness through " The Dancing Girl in Iteo "

民族的深层意识和审美情趣，美的物哀色彩，美的幽玄理念，具有自然美的形式，这是作家对古典美的追求和对民族文化的展示。

The deep native consciousness and aesthetic interest as well as the forms of natural beauty are all what the writer pursued and displayed .

在这里，他以物哀之笔，饱蘸伊豆风情写下了一个凄婉含蓄而又朦朦胧胧的青春爱情故事，其间无不渗透着日本古典的审美意蕴。

Here with the tongue of sadness to creatures , he writes a tragic , hazy love story , which penetrates classical Japanese aesthetic implication .

“物哀”是日本传统审美意识中的一个重要观念，“物感”是中国古典美学和艺术理论的重要范畴。

Substance sadness is an important concept of Japanese traditional aesthetic judgment while substance feeling is a major field of Chinese aesthetics and art theory .

这种生命感和季节感感悟使日本人萌生出独具特色的审美意识，这种审美意识以“物哀”、“空寂”、“幽玄”等等范畴为中核，表现于文艺等方面。

This feeling of life and seasons made the Japanese form their particular aesthetic consciousness , which lies at the heart of sentimentality , vanity and silence , mysterious profundity .

作为中日两国古典艺术理论的优秀结晶，“物感”与“物哀”本身各有其历史发展的过程。

As the beautiful pearl in the artistic theories of each country ," the sense of objects " and " sorrow for objects " respectively has the historical development of itself .

认为陶晶孙小说《木犀》的性意识描写，在通常认为的日本的物哀、优美等文化传统和西方现代情绪及技巧之外，还隐约可见中国文化传统的道德、伦理等因素的影响。

Considers that , the influence of Chinese culture factors , such as the traditional morals , ethics , etc , is looming in the aspects of sex consciousness of Tao Jing-sun 's story , Sweet-scented Osmanthus .