Until now ,the" western "and" eastern " parts of a unified aesthetic science remain alien to each other, and their conjugation, as a rule, is carried out purely mechanically. The reason for this "incompatibility" lies (in addition to the difference in the "language coordinate system", which is especially important for the region of "hieroglyphic culture") also in the orientation of the aesthetics of the Far East, first of all, to practice in the broad sense of the word. So understood, aesthetics acts not only as an artistic theory, but also as a practice of feelings in everyday life, the "mind of the body", the practice of the master's morality (see: [Skvortsova, 2011, p. 5-17]). As a result, Far Eastern aesthetic categories turn out to be "wider" than Western ones, they have more emotional coloring and relativity; they are more intuitive and "logical vagueness", which causes rejection among rationalistic Western researchers who perceive and interpret aesthetic problems discursively. Keywords: modern aesthetics of Japan, Imamichi Tomonobu, periodization of Japanese aesthetics, aesthetics of the "formless" ("aesthetics of the wind") and form. The famous Japanese philosopher Imamichi Tomonobu (born in 1922) strives to establish a cultural dialogue between East and West and shows a remarkable talent for mastering both aesthetic approaches equally in the capital monograph "Aesthetics of the Far East". The Japanese aesthetician sees his task as "following ancient texts, theoretically explaining how philosophical and aesthetic thinking manifested itself in Chinese and Japanese classical works" [Skvortsova, 2011, p.6]. In the chapter "Review of the history of Japanese aesthetics", Imamichi gives a periodization of the aesthetic thought of Japan and at the same time raises the problem of the possibility of isolating elements of the proto-aesthetic consciousness of ancient Japanese people based on the analysis of the texts of the first historical and mythological chronicles ... Read more