The article represents a brief analysis of the two main trends in Japanese aesthet- ics in the 20-21 cc. On the one hand, such thinkers as Onishi Yoshinori, Izutsu Toshihico and Izutsu Toyo, Imamichi Tomonobu constitute the tradition of ratio- nalistic comprehension of Japanese artistic heritage, its systematic analysis, in- cluding the methods of Western aesthetics. On the other hand, the next, af- ter prof. Imamichi, researcher's generation: Sakabe Megumi, Sasaki Ken'ichi, Amagasaki Akira, Iwaki Ken'ichi, just like the previous generation, consider themselves the followers of Nishida Kitaro's philosophic system. Agreeing with Imamichi that a scientific analysis of the artistic and theoretical heritage of the countries of the Far East (China, Korea and Japan) is necessary these thin- kers in the opinion of the author, chose the path of national isolation. The author considers it quite acceptable to assert that so far no Japanese philosophical aes - thetic theory reflects the specifics of the aesthetic consciousness of the Japanese, especially since it is proclaimed by the bearers of Japanese culture themselves. But this fact indicates a fairy likely prospect of such steps back to national iso- lationism, which Japan has already experience in its history.
