This sinification occurs through Buddhist Zen temples, art trade, tea ceremonies or chanoyu, and theatre (Varley, 113; 121; 124). Tea master Murata Shūko expresses a common perspective about Chinese influence, caring to "harmonize Japanese and Chinese tastes" (qtd. 129). Zen temples bring the landscape garden practice, valuing impermanence and wabi (rustic, withering) aesthetic (Varley, 134; 129). Chanoyus begin as informal and evolve into articulate practices, influencing the status quo that Chinese imported art holds in chashitsu (tea rooms) to designing chashitsu (Varley, 126). Chanoyus have hosts touting imported art collections, the highest value on Chinese art (126). Daimyo Sasaki Dōyō is known for expressing pride over his collection during his chanoyus (125-126). Growing chashitsu design significance portrays the shift towards traditional aesthetic in developing shown rooms that are simple and asymmetrical …show more content…
Nōh plays are dramas that signify movement through bugaku dance with gagaku music (113). Theater music includes sarugaku (monkey), which implies acrobatic form, and dengaku (field), which implies peasant culture (114). Both rival each other but have enough mutual influence to be similar (114). Two main figures in Nōh, Kan'ami and his son Zeami, perfect the art form to earthly aesthetic and define yūgen with equivalence to courtliness (Varley, 114; 116). Other components of theater include imitation, war-based nationalism, and some comedy through kyōgen style (115; 116). Imitation and yūgen is prevalent in Nōh acting, War-based nationalism appears in many warrior plays, and Kyōgen plays have miscellaneous subjects (115; 116) Kyōgen plays vary from Nōh play introductions to random comedies