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The modern study of Japanese aesthetics only started a little over two hundred years ago in the West. Thus, while seen as a philosophy in Western societies, the concept of aesthetics in Japan is seen as an integral part of daily life.
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Shinto is considered to be at the fountain-head of Japanese culture. Nevertheless, Japanese aesthetic ideals are most heavily influenced by Japanese Buddhism. This "nothingness" is not empty space. It is rather a space of potentiality.
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There are no permanent waves. At no point is a wave complete, even at its peak. Nature is seen as a dynamic whole that is to be admired and appreciated. This appreciation of nature has been fundamental to many Japanese aesthetic ideals, "arts," and other cultural elements. In this respect, the notion of " art " or its conceptual equivalent is also quite different from Western traditions see Japanese art. Wabi and sabi refers to a mindful approach to everyday life. Over time their meanings overlapped and converged until they are unified into Wabi-sabi , the aesthetic defined as the beauty of things "imperfect, impermanent, and incomplete".
As things come and go, they show signs of their coming or going, and these signs are considered to be beautiful. In this, beauty is an altered state of consciousness and can be seen in the mundane and simple. The signatures of nature can be so subtle that it takes a quiet mind and a cultivated eye to discern them. Each of these things are found in nature but can suggest virtues of human character and appropriateness of behaviour.
This, in turn suggests that virtue and civility can be instilled through an appreciation of, and practice in, the arts. Hence, aesthetic ideals have an ethical connotation and pervades much of the Japanese culture. In modern Japanese, the word is usually translated as "elegance," "refinement," or "courtliness" and sometimes referred to as "heart-breaker". The aristocratic ideal of Miyabi demanded the elimination of anything that was absurd or vulgar and the "polishing of manners, diction, and feelings to eliminate all roughness and crudity so as to achieve the highest grace.
Miyabi is often closely connected to the notion of Mono no aware , a bittersweet awareness of the transience of things, and thus it was thought that things in decline showed a great sense of miyabi. Originating in the Muromachi period — as shibushi, the term originally referred to a sour or astringent taste, such as that of an unripe persimmon. Like other Japanese aesthetic terms, such as iki and wabi-sabi, shibui can apply to a wide variety of subjects, not just art or fashion.
Shibusa includes the following essential qualities. Though many wabi or sabi objects are shibui, not all shibui objects are wabi or sabi. Wabi or sabi objects can be more severe and sometimes exaggerate intentional imperfections to such an extent that they can appear to be artificial. Shibui objects are not necessarily imperfect or asymmetrical, though they can include these qualities.
The Theory of Beauty in the Classical Aesthetics of Japan
Iki is an expression of simplicity, sophistication, spontaneity, and originality. It is ephemeral, straightforward, measured, and unselfconscious. Iki is not overly refined, pretentious, complicated. Iki may signify a personal trait, or artificial phenomena exhibiting human will or consciousness. Iki is not used to describe natural phenomena, but may be expressed in human appreciation of natural beauty, or in the nature of human beings. The phrase iki is generally used in Japanese culture to describe qualities that are aesthetically appealing and when applied to a person, what they do, or have, constitutes a high compliment.
Iki is not found in nature. While similar to wabi-sabi in that it disregards perfection, iki is a broad term that encompasses various characteristics related to refinement with flair. The tasteful manifestation of sensuality can be iki. Etymologically, iki has a root that means pure and unadulterated. However, it also carries a connotation of having an appetite for life. Roughly translated to "beginning, break, rapid", it implies a tempo that begins slowly, accelerates, and then ends swiftly.
The exact translation of the word depends on the context. In the criticism of Japanese waka poetry, it was used to describe the subtle profundity of things that are only vaguely suggested by the poems, and was also the name of a style of poetry one of the ten orthodox styles delineated by Fujiwara no Teika in his treatises. To wander on in a huge forest without thought of return. To stand upon the shore and gaze after a boat that disappears behind distant islands. To contemplate the flight of wild geese seen and lost among the clouds.
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