The first Japanese writer to win the Nobel Prize in Literature, Yasunari Kawabata's masterpiece "Snow Country", will be dramatized, filmed this winter, and broadcast next spring.
The male protagonist is Ishito Takahashi
A man who smiles with a face full of folds does not hinder the sense of youth
The heroine is Natsu
It's the kawaii pervert in "It's Your Turn."
You may not have seen Yasunari Kawabata's "Snow Country", but you must have heard his saying "Wake up at four o'clock in the morning and find that the begonia flowers are not sleeping".
Image source: Sunxiyan
"Snow Country" is known as "Japan's ultimate aesthetics", like "One Hundred Years of Solitude", which has influenced generations of Chinese writers such as Yu Hua, Mo Yan, and Jia Pingwa.
Many people are worried about the tv dramatization of "Snow Country", because the original work is not based on the twists and turns of the storyline, but more to depict a kind of empty and aesthetic mood, making literary and artistic films is OK, and it will be difficult to shoot TV series.
Some people also said that Yasunari Kawabata's book, the sentences are very beautiful, combined together to see people's spirits scattered, really can't get used to that kind of "Oriental flavor".
However, Uncle Oxygen believes that we should look at the artistic aesthetic orientation of Oriental writers based on the perspective of Oriental culture.
Kawabata Yasunari melancholy is typical of Eastern melancholy.
As we all know, the essence of Oriental culture is the moon culture, and Eastern culture rarely has the position of Apollo (sun god), so Oriental literature is not like the grandeur of Western literature, but has a very elegant sadness and beautiful femininity.
Today we taste a pot of oriental "sorrow" - Yasunari Kawabata aesthetics.
01
Literary heroes and beauties
Kawabata's female figures, from the purity and beauty of the early days, the sentimental melancholy of the middle period, to the nihilistic decadence of the late years, are closely related to his life experience.
Kawabata's youth, middle age, and old age
Yamaguchi Momoe, who can perfectly combine the three qualities of children, girls and motherhood, best represents the female image created by Kawabata in the early days - full of pure love and innocence, but full of maternal love.
Kawabata lost his father at the age of 3 and his mother at the age of 4, and his only sister never lived with him.
From an early age, he rarely came into contact with youthful, bright young women, he only saw old and weak grandparents, and the smooth and soft skin of women became Kawabata's instinctive desire.
Kawabata and his first love, and the women in his early works are mostly based on her
Therefore, the female flesh he depicted in the early stage has a soft youthful atmosphere, which makes people feel the touch of life for the first time.
For example, in "The Dancer of Izu", a 14-year-old who pretends to be a 17-year-old parade geisha. Combing her hair into a quaint and peculiar bun makes the serious goose egg face more and more delicate, well-proportioned and dignified, like a classical beautiful girl in traditional Japanese portraits.
What was even more touching was her carcass, which resembled a small sycamore, white and slender. Before I had time to get dressed, I couldn't wait to greet people, innocent, delicate and simple.
"She was naked, she didn't even have a towel, and when she found us, she was so overjoyed that she ran naked into the daylight, tiptoed up, and straightened her body."
Iwashita Shima, on the other hand, can represent the female figure created in the middle of Kawabata.
Compared with Yamaguchi's Baihui-style maiden, Sister Shima has more bookish temperament and mature young woman's temperament, which is both dignified and elegant, and has a hazy and tearful flattery.
Shima Iwashita's role as Komako in "Snow Country" is passionate and wild, exuding mature feminine beauty. The slightly open back collar, from the back to the shoulders, seems to open a white fan.
Every time I look at her photos, I feel that Japan is developing the beauty of a woman's neck to the extreme.
This woman, who looks pure to dust from the outside, even makes people feel that "even the seams of her toes are clean", but because of the trickery of fate, she has fallen into the wind and dust, causing her skin smeared with thick fat powder to feel a kind of unwarranted sadness.
It looks like cotton wool, and it looks like what an animal.
Although she longs for a positive and normal life and perfect and pure love, she can only live in a sadness that cannot be changed, and in the end, everything she has given is gone.
Yoshinaga Sayuri can represent the female image created by Kawabata in the later period - no one can show the mourning and nihilistic decadence of the years better than her.
The decadence revealed in Yasunari Kawabata's works is also an artistic expression of his life's decay after it matured.
Later works, such as Chieko in "Ancient Capital", is a raised abandoned baby, with an almost morbid sensitivity, dressed not like the average girl like bright colors and clothing, even the belt tied on the body is too plain.
Her grief is not only touching and sentimental, but also part of her life consciousness, exuding a mysterious and seductive charm, tearful eyes will be exhausted, and sorrow will not be written.
Although Kawabata can easily place women in his works, due to the lack of maternal love and first love in real life, these experiences have left Kawabata with emotional scratches embedded in bone and blood, and he has also developed an inexplicable contempt for women, both psychologically and physically.
Men in Kawabata literature always look down on women condescendingly.
Yoshinaga Sayuri's Izu Dancer is known as the most classic version
For example, "Izu's Dancing Girl" gives people the initial impression of being a young and hazy teenager, but when you read it deeply, you will find that the young student "I" always starts from a superior perspective and looks down on the humble but pure and beautiful girl.
The first time the dancer spoke to me, she answered in a panicked whisper, and then her cheeks were flushed;
The dancer brought me tea from downstairs, her hands kept shaking, the tea bowl almost fell off the tea dish, and the tea spilled on the ground;
Everyone found the spring water, but the girls all stood around the spring, waiting for me to drink the unsweaked clean water first, and I gladly accepted...
Haruko Uchibuchi, who also played a version of "The Dancing Girl of Izu"
Even in "Snow Country", lamenting that the dust of the colt is clean, what arm socket is fragrant, and the toe slit is clean, all reflect the male protagonist's expected image of the wind and dust woman is dirty.
Kishi Keiko's version of Komako
But he is one of the few male writers who can accurately capture women's consciousness and emotions, pay attention to women as much as possible, love women wholeheartedly, and experience women in detail.
Women are the only way for Kawabata's aesthetic pursuits.
Kawabata Kazu Iwashita Shima
02
The scenery and emotions of the world of Kawabata
Yasunari Kawabata's scenes reflect the aesthetic orientation of the harmonious ecology of the East, and the scenes everywhere also reflect the feelings of everywhere - the love of Kawabata and the love of his pen.
Here's the natural beauty of the colors:
"Through the long tunnel of the county boundary, there is a snow country, and the night sky is a white expanse", the snow under the night sky is swallowed up by darkness, the white snow is thick and thick on the ground, the eaves are hung with crystal icicles, and the whole village is quiet.
We were shocked and healed by this natural landscape with the male protagonist, watching the yellow butterflies dancing, watching the green mountains outside the window, watching the strong black Akita dogs crouching on the stepping stones and licking the water, admiring the stars and moon floating in space different from Tokyo.
There are also illusory beauties constructed by some imagery, such as clouds, fog, mist, light, smoke, and rain, whose own characteristics are unclear and fleeting.
Even "snow" expresses the illusory concept and the philosophy of emptiness in Zen Buddhism.
The colt and leaf correspond to the form and sound of beauty, as if they were angels and spirits in the snow country, with pure and ethereal beauty like snow, and like snow, they hurriedly displayed the ephemeral beauty in the world, and then disappeared into nothingness or in vain.
Eight thousand herbs lavender version of the leaves
Mariko Kaga also played a leaf
In the temperate zone of Japan, the four seasons are distinct, and there is a distinct cycle of four seasons here, "spring flowers, autumn moon, rhododendrons, summer, winter snow;
The ancient capital chapter is named after the spring flower, autumn color, late autumn sister, and winter flower, and the story begins with the spring when the flowers bloom and end in the winter when the snow is raging.
Shima and Yamaguchi's version of "Ancient Capital"
Spring is deeply missed, summer is unexpected encounters, late autumn Kitayama makes a promise, winter says goodbye without words, and in the changing scenery of Kyoto, the joys and sorrows of Chieko and Naoko sisters are staged.
The sense of impermanence brought about by the seasons is a level in the beauty of "material mourning", autumn to winter comes and spring comes, and the change of seasons is a natural and helpless law.
When the story follows the rhythm of the changing seasons, when a complete reincarnation is complete, the story also moves to the end.
03
The beauty of Kawabata and the meaning of the East
Yasunari Kawabata not only fully absorbs the classical poetic culture originating from Japan - such as "Ancient Capital" and "Thousand Cranes" are overflowing with the traditional beauty of mourning, full of mysterious realms, and filled with the wind of mourning;
He also directly taught classical Chinese culture, especially obsessed with traditional Han culture, such as poetry and painting, tea ceremony, wine culture, and flower offering art derived from the Sui and Tang Buddhist halls, so his works also have a strong oriental charm.
Yasunari Kawabata's melancholy is closest to the spirit of traditional Chinese aesthetics.
"The sorrow of the heart, I sing and the ballad";
"In the past, I used to be in the past, Yang Liuyi, now I come to think, rain and snow."
The "heart worry" work of the "Book of Poetry" opened up a melancholy and beautiful atmosphere, and after the middle and late Tang Dynasties, melancholy became an obvious aesthetic trend.
The melancholy temperament in the works of Du Mu and Li Shangyin is not much to say, and the song dynasty literature is mainly based on the emotional tone of sentimental death and human nature.
Xin abandons the disease to give new words to force sadness, even if he has not really experienced it, he still has to "say strongly", which shows the charm of melancholy in literature.
As for Yan Shu's "helpless flowers fall, déjà vu swallow returns" makes the human body taste: it is in the helplessness that has never disappeared and the melancholy of never ending unwillingness that reflects beauty.
Since the late 1970s, Kawabata's works have received widespread attention as a model for Asian writers to successfully borrow from European and American modernist literature, and have had a profound influence on the creations of Mo Yan, Yu Hua, and Jia Pingwa, the leading figures of "root-seeking literature" and "avant-garde literature".
For example, when Mo Yan just saw the beginning of "Snow Country", he felt as if he was touched by the girl he liked for a long time, and quickly put down the "Snow Country" that he had not finished reading and wrote that "the white and docile big dog native to Gaomi Northeast Township is difficult to see a purebred after several generations", and from then on began to build his High-density Northeast Township world.
Everyone knows that in modern times, Western literature still occupies a mainstream position, and Eastern literature has received limited attention.
This year's Nobel Prize in Literature fell to The Gürna in the African literary world, Latin American literature and African literature are catching up, and the characteristics and advantages of Oriental literature have not been valued by the Western literary circles, and the theoretical construction and rational analysis of the literary aesthetics of Oriental literary scholars can often only exist in the context of Oriental culture.
Tanzanian writer Abdul Razak Gürna
"One side nurtures the other side", which is why we should pay more attention to and attach importance to the literary aesthetic orientation of famous oriental writers such as Yasunari Kawabata.
These regional literary aesthetic qualities are the literary aesthetic crystallization in the oriental cultural ecology that we all share.