LINK
http://edoflourishing.blogspot.jp/2014/10/iki-chic-of-edo.html
http://edoflourishing.blogspot.jp/2014/10/iki-chic-of-edo.html
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iki いき / イキ / 粋 / 意気 the CHIC of Edo
Shūzō Kuki 九鬼 周造 Kuki Shūzō, Kuki Shuzo,
(February 15, 1888 – May 6, 1941)
was a prominent Japanese academic, philosopher and university professor.
Kuki was the fourth child of Baron Kuki Ryūichi (九鬼 隆一) a high bureaucrat in the Meiji Ministry for Culture and Education (Monbushō). Since it appears that Kuki's mother, Hatsu, was already pregnant when she fell in love with Okakura Kakuzō (岡倉 覚三), otherwise known as Okakura Tenshin (岡倉 天心), a protégé of her husband's (a notable patron of the arts), the rumour that Okakura was Kuki's father would appear to be groundless.
The Structure of "Iki" 「いき」の構造, "Iki" no kōzō
... his masterpiece, (1930).
In this work he undertakes to make a phenomenological analysis of 'iki', a variety of chic culture current among the fashionable set in Edo in the Tokugawa period, and asserted that it constituted one of the essential values of Japanese culture.
Kuki argues that the Edo ideal of iki or "chic" has a threefold structure representing
he fusion of the "amorousness" (bitai) of the Geisha,
the "valor" (ikuji) of the samurai, and
the "resignation" (akirame) of the Buddhist priest.
The work for which Kuki is best known, " The Structure of Iki " is often regarded as the most creative work in modern Japanese aesthetics.
- source : wikipedia
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- quote
Edokko (江戸っ子, literally "child of Edo")
is a Japanese term referring to a person born and raised in Edo (renamed Tokyo in 1868). The term is believed to have been coined in the late 18th century in Edo. Being an Edokko also implied that the person had certain personality traits different from the non-native population, such as being assertive, straightforward, cheerful, perhaps a bit mercantile
... The majority of samurai in Edo were from the countryside, and Edokko satisfied themselves by looking down on them, referring them being yabo, the opposite of iki.
Iki いき, in Japan, roughly "chic, stylish"
The basis of iki is thought to have formed among urbane commoners (Chōnin) in Edo in the Tokugawa period.
Iki is sometimes misunderstood as simply "anything Japanese", but it is actually a specific aesthetic ideal, distinct from more ethereal notions of transcendence or poverty. As such, samurai, for example, would typically, as a class, be considered devoid of iki, (see yabo). At the same time, individual warriors are often depicted in contemporary popular imagination as embodying the iki ideals of a clear, stylish manner and blunt, unwavering directness. The term became widespread in modern intellectual circles through the book The Structure of "Iki" (1930) by Kuki Shūzō.
Interpretation
Iki, having emerged from the worldly Japanese merchant class, may appear in some ways a more contemporary expression of Japanese aesthetics than concepts such as wabi-sabi. The term is commonly used in conversation and writing, but is not necessarily exclusive of other categories of beauty.
Iki is an expression of simplicity, sophistication, spontaneity, and originality. It is ephemeral, romantic, straightforward, measured, audacious, smart, and unselfconscious.
Iki is not overly refined, pretentious, complicated, showy, slick, coquettish, or, generally, cute. At the same time, iki may exhibit any of those traits in a smart, direct, and unabashed manner.
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. Murakami Haruki (b. 1949), who writes in a clear, unflinching style— at turns sentimental, fantastic, and surreal— is described as embodying iki. In contrast, Kawabata Yasunari (1899-1972) writes in a more poetic vein, with a closer focus on the interior "complex" of his characters, while situations and surroundings exhibit a kind of wabi-sabi. That said, stylistic differences may tend to distract from a similar emotional subjectivity. Indeed, iki is strongly tied to stylistic tendencies.
Iki and tsū
The indefinite ideal of tsū (通) can be said to reference a highly cultivated but not necessarily solemn sensibility. The iki/tsu sensibility resists being construed within the context of overly specific rules about what could be considered as vulgar or uncouth.
Iki and tsu are considered synonymous in some situations, but tsu exclusively refers to persons, while iki can also refer to situations/objects. In both ideals, the property of refinement is not academic in nature. Tsu sometimes involves excessive obsession and cultural (but not academic) pedantry, and in this case, it differs from iki, which will not be obsessive. Tsu is used, for example, for knowing how to properly appreciate (eat) Japanese cuisines (sushi, tempura, soba etc.). Tsu (and some iki-style) can be transferred from person to person in form of "tips." As tsu is more focused in knowledge, it may be considered superficial from iki point of view, since iki cannot be easily attained by learning.
Iki and yabo
Yabo (野暮) is the antonym of iki.
Busui (無粋), literally "non-iki," is synonymous to yabo.
Iki and sui
In the Kamigata or Kansai area, the ideal of sui is prevalent. Sui is also represented by the kanji "粋". The sense of sui is similar to iki but not identical, reflecting various regional differences. The contexts of their usages are also different.
More references and links
- - - More in the WIKIPEDIA !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
A TV program about 粋 IKI
江戸文化を今に伝えるユニークな老若男女が登場。伝統に秘められた知恵と技。親方や師匠たちの厳しくも暖かい人情を、時に愉快におおらかに伝えてゆくミニドキュメンタリー番組。
殺伐とした現代だからこそ伝えていきたい"粋"。
忘れかけていた日本人の心がじんわりとよみがえります。
- source : www.tbs.co.jp
The Chinese character for IKI 粋 is also read SUI.
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote
According to Henry Dreyfus,
Japanese, in contrast with Westerners, grasp colors on an intuitively horizontal plane, and pay little heed to the influences of light. Colors whether intense of soft, are identified not so much on the basis of reflected light or shadow,
but in terms of the meaning or feeling associated with them.
The adjectives used to describe colors, like
iki (sophisticated or chic),
shibui (subdued or restrained), or
hannari (gay or mirthful),
tend to be those that stress feelings rather than the values of colors in relation to each other.
. 色 - The five colors of Buddhism .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote
The beauty of 'man'-kind
by Yoko Haruhara
Iki, the practice translated roughly into English as "cutting-edge taste and innovation," was the passion of the day. Fearful of rebellion from the populace, the shogunate clamped down on public freedom, issuing a series of sumptuary laws from the early 1600s through the Edo Period. Those laws forbade townspeople from engaging in acts of conspicuous consumption, including wearing luxurious garments and displaying tattoos. But the restrictions ironically contributed to a flourishing of commoner culture, as people became increasingly bold in circumventing the laws.
The sudden fervor for tattoos — sparked in part by the acclaim of an 1827 series of prints by the woodblock artist Utagawa Kuniyoshi (1797-1861) that depicted courageous warriors covered in fanciful multi-colored tattoos — is a prime example of the Edoites' pursuit of iki.
. nanshoku、danshoku 男色 homosexuality in Edo .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - To join me on facebook, click the image !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Japanese Architecture - cultural keywords used in haiku .
. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
iki いき / イキ / 粋 / 意気 the CHIC of Edo
Shūzō Kuki 九鬼 周造 Kuki Shūzō, Kuki Shuzo,
(February 15, 1888 – May 6, 1941)
was a prominent Japanese academic, philosopher and university professor.
Kuki was the fourth child of Baron Kuki Ryūichi (九鬼 隆一) a high bureaucrat in the Meiji Ministry for Culture and Education (Monbushō). Since it appears that Kuki's mother, Hatsu, was already pregnant when she fell in love with Okakura Kakuzō (岡倉 覚三), otherwise known as Okakura Tenshin (岡倉 天心), a protégé of her husband's (a notable patron of the arts), the rumour that Okakura was Kuki's father would appear to be groundless.
The Structure of "Iki" 「いき」の構造, "Iki" no kōzō
... his masterpiece, (1930).
In this work he undertakes to make a phenomenological analysis of 'iki', a variety of chic culture current among the fashionable set in Edo in the Tokugawa period, and asserted that it constituted one of the essential values of Japanese culture.
Kuki argues that the Edo ideal of iki or "chic" has a threefold structure representing
he fusion of the "amorousness" (bitai) of the Geisha,
the "valor" (ikuji) of the samurai, and
the "resignation" (akirame) of the Buddhist priest.
The work for which Kuki is best known, " The Structure of Iki " is often regarded as the most creative work in modern Japanese aesthetics.
- source : wikipedia
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote
Edokko (江戸っ子, literally "child of Edo")
is a Japanese term referring to a person born and raised in Edo (renamed Tokyo in 1868). The term is believed to have been coined in the late 18th century in Edo. Being an Edokko also implied that the person had certain personality traits different from the non-native population, such as being assertive, straightforward, cheerful, perhaps a bit mercantile
... The majority of samurai in Edo were from the countryside, and Edokko satisfied themselves by looking down on them, referring them being yabo, the opposite of iki.
Iki いき, in Japan, roughly "chic, stylish"
The basis of iki is thought to have formed among urbane commoners (Chōnin) in Edo in the Tokugawa period.
Iki is sometimes misunderstood as simply "anything Japanese", but it is actually a specific aesthetic ideal, distinct from more ethereal notions of transcendence or poverty. As such, samurai, for example, would typically, as a class, be considered devoid of iki, (see yabo). At the same time, individual warriors are often depicted in contemporary popular imagination as embodying the iki ideals of a clear, stylish manner and blunt, unwavering directness. The term became widespread in modern intellectual circles through the book The Structure of "Iki" (1930) by Kuki Shūzō.
Interpretation
Iki, having emerged from the worldly Japanese merchant class, may appear in some ways a more contemporary expression of Japanese aesthetics than concepts such as wabi-sabi. The term is commonly used in conversation and writing, but is not necessarily exclusive of other categories of beauty.
Iki is an expression of simplicity, sophistication, spontaneity, and originality. It is ephemeral, romantic, straightforward, measured, audacious, smart, and unselfconscious.
Iki is not overly refined, pretentious, complicated, showy, slick, coquettish, or, generally, cute. At the same time, iki may exhibit any of those traits in a smart, direct, and unabashed manner.
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. Murakami Haruki (b. 1949), who writes in a clear, unflinching style— at turns sentimental, fantastic, and surreal— is described as embodying iki. In contrast, Kawabata Yasunari (1899-1972) writes in a more poetic vein, with a closer focus on the interior "complex" of his characters, while situations and surroundings exhibit a kind of wabi-sabi. That said, stylistic differences may tend to distract from a similar emotional subjectivity. Indeed, iki is strongly tied to stylistic tendencies.
Iki and tsū
The indefinite ideal of tsū (通) can be said to reference a highly cultivated but not necessarily solemn sensibility. The iki/tsu sensibility resists being construed within the context of overly specific rules about what could be considered as vulgar or uncouth.
Iki and tsu are considered synonymous in some situations, but tsu exclusively refers to persons, while iki can also refer to situations/objects. In both ideals, the property of refinement is not academic in nature. Tsu sometimes involves excessive obsession and cultural (but not academic) pedantry, and in this case, it differs from iki, which will not be obsessive. Tsu is used, for example, for knowing how to properly appreciate (eat) Japanese cuisines (sushi, tempura, soba etc.). Tsu (and some iki-style) can be transferred from person to person in form of "tips." As tsu is more focused in knowledge, it may be considered superficial from iki point of view, since iki cannot be easily attained by learning.
Iki and yabo
Yabo (野暮) is the antonym of iki.
Busui (無粋), literally "non-iki," is synonymous to yabo.
Iki and sui
In the Kamigata or Kansai area, the ideal of sui is prevalent. Sui is also represented by the kanji "粋". The sense of sui is similar to iki but not identical, reflecting various regional differences. The contexts of their usages are also different.
More references and links
- - - More in the WIKIPEDIA !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
A TV program about 粋 IKI
江戸文化を今に伝えるユニークな老若男女が登場。伝統に秘められた知恵と技。親方や師匠たちの厳しくも暖かい人情を、時に愉快におおらかに伝えてゆくミニドキュメンタリー番組。
殺伐とした現代だからこそ伝えていきたい"粋"。
忘れかけていた日本人の心がじんわりとよみがえります。
- source : www.tbs.co.jp
The Chinese character for IKI 粋 is also read SUI.
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote
According to Henry Dreyfus,
Japanese, in contrast with Westerners, grasp colors on an intuitively horizontal plane, and pay little heed to the influences of light. Colors whether intense of soft, are identified not so much on the basis of reflected light or shadow,
but in terms of the meaning or feeling associated with them.
The adjectives used to describe colors, like
iki (sophisticated or chic),
shibui (subdued or restrained), or
hannari (gay or mirthful),
tend to be those that stress feelings rather than the values of colors in relation to each other.
. 色 - The five colors of Buddhism .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote
The beauty of 'man'-kind
by Yoko Haruhara
Iki, the practice translated roughly into English as "cutting-edge taste and innovation," was the passion of the day. Fearful of rebellion from the populace, the shogunate clamped down on public freedom, issuing a series of sumptuary laws from the early 1600s through the Edo Period. Those laws forbade townspeople from engaging in acts of conspicuous consumption, including wearing luxurious garments and displaying tattoos. But the restrictions ironically contributed to a flourishing of commoner culture, as people became increasingly bold in circumventing the laws.
The sudden fervor for tattoos — sparked in part by the acclaim of an 1827 series of prints by the woodblock artist Utagawa Kuniyoshi (1797-1861) that depicted courageous warriors covered in fanciful multi-colored tattoos — is a prime example of the Edoites' pursuit of iki.
. nanshoku、danshoku 男色 homosexuality in Edo .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - To join me on facebook, click the image !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Japanese Architecture - cultural keywords used in haiku .
. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
