Focillon, Bergson and Buddhist Aesthetics: A point in Focillon’s Reception of Japanese Art
Keywords:
buddhism, aesthetics, contemplation, zenAbstract
This essay focuses on a point in Henri Focillon’s interpretation of the aesthetics of Japanese art. Focillon fastens very precisely on a deep difference which exists in the understanding of the idea of aesthetic contemplation in the Western and Eastern traditions. Western traditional analyses of contemplation presuppose and embody assumptions about the ontological ultimacy of individuals that are absent from Eastern traditions in which the ultimate is conceived of as nothingness. In particular, the idea that the absolute is fully manifested in each phenomenal individual is absent from Western aesthetics. Focillon grasped this, and his views are contrasted
with those of Bergson, and confirmed by those of the eminent Japanese philosopher Nishida Kitarō, who was his contemporary.
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