Mono No Suzuku Analysis

Aesthetics

A key cultural aspect of the Japanese is their immense appreciation for aesthetics, one of which being mono no aware – a term coined by Japanese scholar Motoori Norinaga in the eighteenth century. It conveys the fleeting beauty in the transience of life through an experience that cannot be pinned down by a single moment or image. This kind of beauty creates an ineffable experience for audiences. Furthermore, according to Kishimoto (1956), “religious values and aesthetics values are not two different things” for the Japanese.

In Suzu no Shizuku, when Kaya was conceived and when she was assimilated into the mountain, there were bell-like sounds, which made Yoshirou feel a pang in his heart. In that same short few seconds of the anime, this feeling of sadness is transmitted to audiences. The Japanese ideal considers beauty as an experience of the heart and mind (Carter 2008), exemplified by the ringing of the bells in the episode. This admiration of aesthetics uses the sounds of bells to give rise to mono no aware. Being a Japanese concept, utilising mono no aware serves as a reminder to the Japanese audience of their Japanese identity in face of globalisation and Westernisation. This prevents the cultural erosion (a consequence of globalisation) that would threaten Japanese identity. This reflects why adaptations of

As the series’ only character who wore “modern-day, Western attire”, Ginko appears to represent a post-Meiji Restoration Japanese (Okuyama 2015, 169). Yet, Ginko’s profound understanding of mushi suggests in-depth knowledge of traditions. While Ginko’s response is directed towards the mushi, it can also be directed towards the mainly-Japanese audience. The use of close-up during that moment gives the impression that he is also directly confronting the audience, reminding them that they are part of