Authors
Daniel Patrick Wilson
University of Auckland
Abstract
Dominic McIver Lopes and Yuriko Saito claim that the Japanese tea ceremony, or chadō, is a non-Western art form. Stephen Davies also defends that claim. In this article, I utilize the tea ceremony as a test case for pancultural definitions of art that claim to be inclusive of non-Western cultures without relying on Western ethnocentrism to justify their status as artworks. I argue that Davies's hybrid definition is not justified in assuming a homogenous art tradition and/or a unified conception of artistic practices in a non-Western culture. Moreover, the cladistic structure of his definition fails to accommodate the spontaneous instantiation of new art traditions. Additionally, Jerrold Levinson's Intentional-Historical definition cannot satisfactorily accommodate chadō. First, the nonart origins that were formative for the regard that is required for appreciation of the tea ceremony mean that the relational interpretation of the definition fails. Second, Rikyū’s tea ceremony does not count as art incidentally, as it is not a form of mimesis nor does the Japanese wabi aesthetic that is central to chadō have a precursor in known Western art. Third, if chadō does satisfy Levinson's extended theory, it comes at the cost of embracing Western ethnocentrism.
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DOI 10.1111/jaac.12436
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References found in this work BETA

The Art Instinct: Beauty, Pleasure, and Human Evolution.Mara Miller - 2009 - Journal of Aesthetics and Art Criticism 67 (3):333-336.
Everyday Aesthetics.Yuriko Saito - 2001 - Philosophy and Literature 25 (1):87-95.
Defining Art Historically.Jerrold Levinson - 1979 - British Journal of Aesthetics 19 (3):21-33.
The Cluster Account of Art Defended.Berys Gaut - 2005 - British Journal of Aesthetics 45 (3):273-288.
The Myth of (Non-Aesthetic) Artistic Value.Dominic McIver Lopes - 2011 - Philosophical Quarterly 61 (244):518-536.

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