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La tateana de Yasujirō: sobre El fin de la primavera (1949) y El comienzo del verano (1951), de Ozu

Author(s): García Roig, Manuel

Journal: DC PAPERS : Revista de Crítica y Teoría de la Arquitectura
ISSN 1139-5559

Volume: 21-22;
Issue: Cinema as pre-text;
Start page: 63;
Date: 2011;
Original page

Keywords: Yasujirõ Ozu | japanese house | nature | tree | Nô Theater | Bakushu | Banshun

The first mansion of which witness is had in the Japanese culture is a simple cabin, the tateana-jûkyo. In his traditional architecture the skills of the carpentry reached a high perfection, being applied to the construction of the theatre Nô. In the Landscape haboku of Sesshu Toyó, artist suibokuga, the Indian ink transform the mountain, cabin and barge into elements of an empty space where floats emptiness, Mu, Zen expression. As Nô, the Japanese housing is an opened stage, including visually the garden to take part of his natural environment. The Japanese house like stage of the Nô Theater, and the garden with a tree, for which it is opened, constitute containers of the emptiness and the frames in which Yasujirō Ozu's movies develop. In several notable examples of the recent Japanese architecture, his mediation with the nature is established, precisely, by reference to the mythical meaning of the tree.
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