What is Art? An Answer from Japan, from Hokusai to the Present

If we were to ask, “What is art?” in the West, we would likely receive answers that seek clear, precise, and often universal definitions. Since the 1950s, Western philosophers and critics have intensely debated the need to establish objective criteria to distinguish art from everything else. In Japan, however, this question would yield very different, more nuanced responses—ones closely tied to personal experience, cultural context, and daily life.

Art in the West: Defining to Distinguish

In the West, art is often viewed as something autonomous from daily life. A work of art is typically perceived as unique, original, and created with a precise intention by the artist. Philosophers like Arthur Danto and George Dickie have emphasized the necessity of clearly defining what makes something “art”: originality, creativity, and artistic intention (*we discussed this here: The End of Art: From Wittgenstein to AI, via Arthur Danto).By doing so, the West has developed distinct categories:

• Art vs. Craft

• Functional vs. Aesthetic

• Original vs. Reproduction

The Japanese Approach: Living Art

Japan, in contrast, has never felt the need to strictly separate art from everyday life. In Japanese tradition, art is fully integrated into life itself and is never an isolated product. Aesthetic concepts such as:

• Ma (間): the space and silence that highlight what is missing

• Wabi-sabi (侘寂): the beauty of imperfection and impermanence

• Mono no aware (物の哀れ): a melancholic awareness of transience

• Yugen (幽玄): a mysterious and subtle beauty

remind us that Japanese art is more about perceiving the world than about rigid definitions.

Hokusai: An Artist (Not Too) Original

Katsushika Hokusai, famous for prints like The Great Wave, embodies this Japanese perspective. In his time (18th–19th century), Japanese art did not rigidly distinguish between “high” and popular art. His works were mass-produced prints designed for everyday enjoyment. This radically contrasts with the Western idea that art must be unique, unrepeatable, and almost sacred.

When Japan opened to the West during the Meiji era (1868–1912), the Western concept of “fine arts” (bijutsu, 美術) was introduced. Art academies and museums were established following the European model.In the 20th century, the term “geijutsu” (芸術) emerged to describe a broader concept of art, including tea ceremonies, ikebana, and calligraphy. Movements like “mingei” (folk art) celebrated anonymous and collective craftsmanship, in contrast to the Western cult of the individual artistic genius.Contemporary artists such as Takashi Murakami and Yayoi Kusama reflect this complexity, blending tradition and modernity, pop culture and classical art—without worrying too much about strict definitions.

Murakami and Kusama: Global Icons Between Art and Fashion

Takashi Murakami has masterfully fused traditional Japanese aesthetics with elements of contemporary pop culture, creating a distinctive and instantly recognizable style. His concept of “Superflat” merges anime, manga, and classical Japanese painting, blurring the lines between high and popular culture. This approach made him an ideal collaborator for brands like Louis Vuitton, with whom he created iconic collections of bags and accessories. Murakami has taken art out of museums and directly into everyday life, aligning with the ancient Japanese notion of art as an integral part of reality.

Yayoi Kusama, known for her dots and immersive installations, explores both personal and universal obsessions such as infinity and repetition. Kusama perfectly embodies Japanese aesthetic principles: art becomes something to be experienced rather than merely observed. She, too, collaborated with Louis Vuitton, designing iconic products adorned with her signature polka dots, further emphasizing the Japanese cultural link between art, fashion, and daily life.

A Critical Comparison

The comparison between Japan and the West on the concept of art raises an important reflection: while the Western approach often risks separating art too much from daily life, making it distant and almost inaccessible, the Japanese approach runs the opposite risk—where the distinction between art and non-art can become too vague, potentially diluting the value and distinct significance of a work.

However, I believe that it is precisely in the tension between these two approaches that a fertile balance can be found. Japanese tradition reminds us that art has meaning when it is lived concretely, integrated into daily life, and not merely contemplated from a distance (it should “furnish” my everyday life). On the other hand, the Western emphasis on definition can serve as a stimulus to preserve the distinctive and transformative character that makes art a powerful experience for reflection and personal growth.

In the West, philosophers and cultural leaders engage in heated debates about what can or cannot be defined as art. But art is not solely a Western concept. Drawing from Japanese tradition, a more important question arises: beyond defining art, how can we live art?

(with the scientific support of ChatGPT 4.5 and Claude Sonnet 3.7, prompt in bibliography)

Bibliography

Danto, Arthur. The Transfiguration of the Commonplace. Laterza, 2008.Dickie, George. Art and the Aesthetic. Cornell University Press, 1974.Okakura, Kakuzo. The Book of Tea. Feltrinelli, 2017.Tanizaki, Jun’ichirō. In Praise of Shadows. Bompiani, 2002.Munroe, Alexandra. Japanese Art After 1945: Scream Against the Sky. Harry N. Abrams, 1994.Murakami, Takashi (ed.). Little Boy: The Arts of Japan’s Exploding Subculture. Yale University Press, 2005.

Basic Prompt for Formal References: Analytical philosophy in the West has debated the definition of art since the 1950s. Philosophers have long discussed this topic. I would like to develop an article on the concept of art in relation to Japanese culture, from Hokusai to modern times, highlighting the differences from Western perspectives. Please provide an overview as you would in a university lecture.