What did Kawabata Yasunari talk about on the bridge?

The spiritual agreement and the realm of life and death between Yasunari Kawabata and Kaii Higashiyama.

Fu hongxiu

Kaii Higashiyama is a sage and essayist in Japanese painting, while Yasunari Kawabata is a Japanese writer and Nobel Prize in Literature winner. They are close friends. They often exchange and discuss topics related to beauty, especially like to express their views on painting. Kawabata Yasunari thinks that Kaii Higashiyama's paintings are quiet and pure incarnations with indescribable soul penetration.

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In the face of Kaii Higashiyama's landscape paintings, Kawabata Yasunari got quiet and comfortable comfort, always immersed in pure and compassionate warmth. Kaii Higashiyama's paintings are hung in all the rooms of Yasunari Kawabata's home. As long as he doesn't travel, he is always fascinated by these paintings. Even when he is in hospital, he will take some paintings to the hospital every day, so that his soul can be comforted and sublimated in pure silence. When he watched Kaii Higashiyama's Nordic sketches, he often read the feeling of tranquility and prosperity in life, and the "residual photos" brought this world-class writer back to his "hometown of heart" when he was young.

So what does Kaii Higashiyama think of the beauty of Kawabata Yasunari's literature? Kaii Higashiyama said that beauty is the rest garden of Kawabata Yasunari's literature, the source of his happiness, happiness and tranquility, and the constant mapping of his life meaning. Anti-Bridge, Shower and Living in Kyrgyzstan are three short stories of Kawabata Yasunari's "Extreme Beauty". Kaii Higashiyama believes that Yasunari Kawabata's anti-bridge has turned the profound aesthetic feeling into flowing colored silk, and Yasunari Kawabata has crystallized the unique beauty of Japan in a novel way and artistically presented it to the world.

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Kawabata Yasunari's belief and meditation are in the same strain. This kind of heart sound code has the same effect as Kaii Higashiyama's pure silence, which stems from their experience.

Kawabata Yasunari lost his father at the age of two, his mother at the age of three, and his last grandfather at the age of fifteen, while Kaii Higashiyama lost his parents and brothers one after another before and after the Japanese defeat, and only husband and wife lived alone. Kawabata Yasunari and Kaii Higashiyama have a lonely heart at the same time. Once they meet, they will appreciate each other.

Nobel Prize in Literature winner Yasunari Kawabata, who expresses the essence of Japanese soul with excellent psychological sensitivity and narrative skills, is introverted and has an abnormal family. From 1 to 14, his parents, sister, grandfather and family died one after another, and Kawabata Yasunari became an orphan. His cousin nicknamed him "a celebrity who attended the funeral", and his cousin even said that his clothes "smelled like a grave". In The Dancer of Izu, Yasunari Kawabata expresses the impermanence of life through the love between men and women who wander on the journey and meet by chance. He described the meeting between a 20-year-old boy and a 14-year-old dancer as a looming, picturesque and hazy love, just like a clear and subtle search in life. In Thousand Cranes, Yasunari Kawabata puts the characters in the conflict between morality and immorality to express their inner sadness. "Sorrow and love are the same", and sadness is a unique beauty, which is Kawabata Yasunari's new consciousness. In Snow Country, Kawabata Yasunari is far away from family and secularism, and goes to a paradise-like "Snow Country" to appreciate spiritual freedom and emptiness. Kawabata Yasunari often feels the sadness and indifference that Japan has had since ancient times from the moonlight.

Coincidentally, in the long course of life, Kaii Higashiyama also regarded the density and tranquility of nature as the ultimate pursuit of life experience. A Japanese scholar said that the ultimate of all art is dying eyes. /kloc-When he was 0/4 years old, Kaii Higashiyama suffered from a serious infectious disease. Because he had no relatives there at that time, people in the town forcibly sent him to the Woods far away from the village and isolated him for two months, leaving him to fend for himself. It was in those two months of claustrophobia that Kaii Higashiyama heard the sounds of nature and saw the yellow moon floating in the dark night sky. Kaii Higashiyama sees the scenery from the perspective of death. This life journey born of death is in harmony with Kawabata Yasunari's painful mind, so together they regard all life phenomena in nature and society as a kind of favor and practice all the way.

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The ancient Japanese had a spiritual consciousness of "mourning for things". They love the waning moon, the budding buds and the scattered petals. They think that there is a kind of poor sadness hidden in the waning moon, buds and flowers, which will increase the shock of beauty. This impermanent sense of sadness and impermanent aesthetic feeling is the essence of Kawabata Yasunari and Kaii Higashiyama's "mourning for beauty".

In the traditional Japanese aesthetic consciousness, it is not lofty, bold, unrestrained, elegant and free and easy, but pays more attention to simplicity, simplicity, exquisiteness, calmness, dilution and elegance. Therefore, the Japanese people's feelings and expressions in this respect are particularly sensitive and delicate, and compared with the high-spirited, fierce and hardworking western beauties, they are introverted and simple. Compared with Gome's atmosphere, freehand brushwork and profundity, it is duty and modesty. In painting composition, Kaii Higashiyama is not good at capturing scenery from a broad field of vision, but mostly takes a corner of nature, which fully shows the blending of human mind and nature and the exquisiteness of nature.

Kawabata Yasunari, on the other hand, constantly moves and changes the ethereal state in the world, bringing the "nothingness" in Japanese traditional culture to the extreme. After winning the Nobel Prize, he committed suicide to freeze his life consciousness in eternity, and let the silent years bell spread to all sentient beings today. Whether he intentionally or unintentionally, maybe this is also a way to declare his existence.

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The aesthetic feature of Kawabata Yasunari's literary works is introversion, that is, the narrative of the works is developed through the observation, experience and intuition of the characters in the works. This narrative method can better reveal the complex feelings and experiences of the characters.

In Kawabata Yasunari's novels, the word "he feels" appears repeatedly, which seems to be a narrative procedure. In this narrative, he is thinking, searching and pondering, and women have also become the object of his examination. Kawabata Yasunari's novels pay attention to women and show their beauty, which undoubtedly inherits the traditional Japanese female-centered cultural concept.

Kawabata Yasunari's thinking is visual, intuitive and non-analytical, and at the same time, it is integrated with Japanese traditional culture genes, forming Kawabata Yasunari's unique narrative mode, which has rich vanity behind it.

Quiet, long, delicate and smooth, with a little loneliness, sadness and coldness, but it shows the brilliance of life everywhere, which is a complex and simple charm in Dongshan Kaiyi's works of art. Kaii Higashiyama has lived in Japan since he was a child. The four distinct seasons of climate change and delicate emotions give him a keen sense of color and beauty. After the cruel baptism of World War II, his insight into beauty went deep into the fine lines of life.

The cherry blossoms in Kaii Higashiyama's art work "Cherry Blossoms at Night" reflect the full moon through the dense pine forest. On a quiet night, the bright moonlight falls on the petals like stars. The full moon meets gorgeous cherry blossoms, which are also beautifully presented in Huaming. When the full moon just appeared in the sky, cherry blossoms seemed to be trying to grow towards the moon. The higher the color, the brighter it is. The cherry tree has an illusion of continuous growth, which makes people feel a strong shock of life. Flowers full of vitality may wither in the next second, and only with all their lives can they bloom in an instant. Cherry blossoms are beautiful, but the flowering period is short. Kaii Higashiyama fixed the moment of life as eternity. The halo of the moon makes this moment almost sacred.

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Kawabata Yasunari made great achievements in literature, but accidentally committed suicide with a gas pipe at the age of 73, mainly because his nihilism was at its peak, because he had conquered the fear of death mentally, waited for death with a calm mind, and felt the same way about life and death. Therefore, in Kawabata Yasunari's mind, any way of death is the same.

Chuan Cheng's early works "The Ancient Capital of Snow Country" are beautiful, while his later works "Thousand Cranes", "The Sound of Mountains" and "Sleeping Beauty" all show his bitter and lonely heart. Kawabata Yasunari writes novels deeply and his spirit is unstable at ordinary times. He firmly believes that death is the highest art and can last forever as a part of life.

Kawabata Yasunari's lonely childhood, the thought of mourning in the same strain and the classical atmosphere in Japan make death not shameful but glorious-occupying his inner world. At the same time, he is a carefree person, who has almost exhausted his life's hard work for the cause of beauty.

Compared with Kawabata Yasunari, Kaii Higashiyama is more extroverted in thought and more calm in essence. His life expectancy is 9 1 year. Kaii Higashiyama said that the spiritual meaning endowed by nature is eternal, so he thought that being close to nature was a way to save himself and help others. For him, traveling, painting and sketching is a way of life. Even after he was over 70 years old, he often went to Europe, America and Asian countries to hold exhibitions and travel to sketch.

Kawabata Yasunari and Kaii Higashiyama are not only close friends in life, but also the same people who pursue the classical sentiment in Japanese traditional aesthetics. Kawabata Yasunari thinks that Kaii Higashiyama has more opportunities than himself: "As a Japanese landscape painter, he consciously obeyed his own destiny and made clear his understanding of Japanese beauty. On the one hand, travel is regarded as life and art, and cycle impermanence is regarded as human destiny; On the other hand, I bury my loneliness and sadness in my heart, and I have a positive will to everything and try to implement it. I often get fresh feelings from nature and always live in modest and honest love. "

Indeed, Kaii Higashiyama gave his feelings about life to nature, felt the breath and vitality of nature, and described his feelings about nature, life and life. He pursues the beauty of simple, simple and quiet life. He described the liberated mind, clarified the mood of more people, made people gain the strength of life from nature and passed on the beautiful vitality to others.

Kaii Higashiyama said when painting "Cherry Blossoms on a Moonlit Night": "If the flowers never fade and we live on the earth forever, the meeting between them will not cause any emotion. When flowers are about to die, they show the brilliance of life. In my deep heart, which is as beautiful as a flower, I cherish each other's lives and feel the joy of a brief encounter between people. " In Kaii Higashiyama's eyes, the flowering period is short and fleeting, which is a charming and heartbreaking beauty.

Kaii Higashiyama's Homesickness seems to be shrouded in fog, filled with a faint sadness. The light in the distance brings beautiful acacia, like a river that dreams of returning to hometown at midnight telling the past time. Painters use moonlight, lakes, clouds and snow to make the scenery more mysterious.

Kaii Higashiyama's Moonlight in the Tang and Zhao Gymnasiums has only a delicate full moon in one third of the pictures and in the other two thirds. The central axis of the picture is somewhat to the left, which makes the whole temple look empty, lonely and solemn. Just below the painting "China in Winter", there is a round tree like a crown, and its branches try their best to stretch. Although it is round and irregular, the moon is slightly off center.

Kaii Higashiyama once sighed: "What is' fate'? I came into this world and will leave soon. There is no permanent world, permanent place or permanent home. I think samsara and impermanence are evidence of life. " It can be said that the sense of moment is the basis of cherry blossoms on a moonlit night. With a silent mood, Kaii Higashiyama extracted the idea of praying for peace from his understanding of "mourning for things", and faced nature with the purest and most transparent eyes, and had a close dialogue with nature, which made people who pursue material desires ponder for a long time today.