tag:blogger.com,1999:blog-820047071744679108.post3585481444622747932..comments2023-05-23T03:54:17.181-07:00Comments on Introducing Haiku Poets and Topics . . . . . WKD: Wabi and SabiGabi Grevehttp://www.blogger.com/profile/16362456518166174106noreply@blogger.comBlogger8125tag:blogger.com,1999:blog-820047071744679108.post-26069567852131834092018-08-21T22:26:55.434-07:002018-08-21T22:26:55.434-07:00Negishi no Sato 根岸の里 Negishi village
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hatsune no...<b> Negishi no Sato 根岸の里 Negishi village </b><br />.<br />hatsune no sato 初音の里 village of the bush warbler <br />.<br />https://edoflourishing.blogspot.com/2018/07/negishi-district-taito.html<br />.Gabi Greve - Darumapediahttps://edoflourishing.blogspot.com/2018/07/negishi-district-taito.htmlnoreply@blogger.comtag:blogger.com,1999:blog-820047071744679108.post-79499370155240676262018-04-21T17:57:59.881-07:002018-04-21T17:57:59.881-07:00wakuraba 病葉 sickly leaves, pale leaves, weak leave...<b>wakuraba 病葉 sickly leaves, pale leaves, weak leaves</b><br />a kigo for late autumn<br />and a well-loves motive in all kinds of Japanese art.<br />The imperfect and fleeting . . .<br />.<br />老葉 wakuraba, old leaves<br />.<br />quote<br />This scroll of elegant but forceful calligraphy comprises the “Travel” (Tabi) section of the “Aged Leaves” (Wakuraba) poetry anthology, compiled by the great medieval poetry master Sōgi (1421-1502). The type of verse transcribed here is a special kind of linked verse (renga), in which the first three lines of the verse is composed by one poet, and the final two lines by another poet. During an age when printing was still rare, students of poetry had to make their own transcriptions of anthologies for study. Little is known about the calligrapher here, who signed himself Ryūkō, except that he was a renga poet of the Warring States period, who was active in Yamashiro in Kyoto and also the Mizokui district of Settsu (Osaka). Ryūkō was a pupil of the renga master Shōhaku 肖柏 (1443–1527), who had received training from Sōgi, so we can retrace the transmission of this manuscript over three generations. <br />.<br />https://www.metmuseum.org/art/collection/search/671054<br />.Gabi Grevehttps://www.blogger.com/profile/16362456518166174106noreply@blogger.comtag:blogger.com,1999:blog-820047071744679108.post-54119957774545410892014-10-12T22:09:40.510-07:002014-10-12T22:09:40.510-07:00Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美...Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美学<br /><br />The most common terms for aesthetics and design will be introduced here.<br />.Gabi Greve - Darumapediahttp://edoflourishing.blogspot.jp/2014/10/aesthetics-bigaku.htmlnoreply@blogger.comtag:blogger.com,1999:blog-820047071744679108.post-34047629910428071712014-10-05T18:13:23.740-07:002014-10-05T18:13:23.740-07:00.
iki いき / イキ / 粋 / 意気 the CHIC of Edo
The Struc....<br /><b>iki いき / イキ / 粋 / 意気 the CHIC of Edo <br /></b><br />The Structure of "Iki" 「いき」の構造, "Iki" no kōzō<br />Shūzō Kuki 九鬼 周造 Kuki Shūzō, Kuki Shuzo,<br />(February 15, 1888 – May 6, 1941)<br />.<br />MORE<br />.Gabi Greve - Darumapediahttp://edoflourishing.blogspot.jp/2014/10/iki-chic-of-edo.htmlnoreply@blogger.comtag:blogger.com,1999:blog-820047071744679108.post-59928625350548877322014-10-03T18:01:42.248-07:002014-10-03T18:01:42.248-07:00shibui (渋い), shibumi (渋み), shibusa (渋さ)
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subdue...<b><br />shibui (渋い), shibumi (渋み), shibusa (渋さ) <br />.<br />subdued elegance </b>Gabi Greve - Darumapediahttp://edoflourishing.blogspot.jp/2014/10/shibui-japanese-elegance.htmlnoreply@blogger.comtag:blogger.com,1999:blog-820047071744679108.post-18360899296919466912010-05-13T00:02:43.690-07:002010-05-13T00:02:43.690-07:00Even More Mood:
Wabi, Sabi, Empty
BY Paul Watsky
...Even More Mood:<br />Wabi, Sabi, Empty<br />BY Paul Watsky<br /><br />THF, <br />http://www.thehaikufoundation.org/2010/05/12/headset-3/anonymoushttp://www.thehaikufoundation.org/2010/05/12/headset-3/noreply@blogger.comtag:blogger.com,1999:blog-820047071744679108.post-70093164320316428222008-05-18T18:53:00.000-07:002008-05-18T18:53:00.000-07:00Sabi in Haikuby H.F. NoyesThe Japanese word sabi e...Sabi in Haiku<BR/><BR/>by H.F. Noyes<BR/><BR/><BR/>The Japanese word sabi expresses a uniquely vital element in the haiku tradition. Though the <BR/>concept, like much in Japanese art, is so elusively subtle as to afford no easy accessibility to Western minds, let us at the very least be willing to confront the mystery and paradox of the term.<BR/><BR/>We are told by R.H. Blyth that "what can be said is not sabi."1 That imposes no obstacle to a haijin who understands Zen "wordlessness" as an eloquent form of communion. Take, for instance, "Autumn dusk -- / <BR/>without a cry/a jackdaw passes" (Kishu 2 ). <BR/>The deepest truths are imageless; they emanate from the <BR/>unexpressed, the wordless aspect of haiku ・however essential each word may be:<BR/><BR/> how silently<BR/> the wave-tossed log is beached<BR/> and snow-flaked<BR/> ・Geraldine C. Little 3<BR/><BR/>The mystery of sabi intensifies when I quote from Basho: "Where there is no sabi, there will be <BR/>sadness."4 Then sabi cannot encompass what we usually mean by sadness. Rather, it goes beyond <BR/>happiness-sadness to the lonely quality which each thing has in its singular existence, when observed from a state of detachment. <BR/>Sabi loneliness, according to Alan Watts, is in seeing things "as happening 'by themselves' in miraculous spontaneity."5 <BR/>He gives as example Buson's "Evening breeze - water <BR/>lapping against/the heron's legs." The great surprise is that when we immerse ourselves in nature, an <BR/>isolated particularity becomes to us, for the moment, all things. Sabi loneliness is a state in which, having nothing, we have all. (Not the proximity in <BR/>our language of aloneness to all-oneness. <BR/><BR/>It is a state of which Blyth says we "do not pick and choose what we are to rejoice and weep with."6 It <BR/>chooses us: "winter hill ・alone together/with wind and stars" (H.F.Noyes 7 ).<BR/><BR/>In his haiku handbook, William Higginson describes sabi as "beauty with a sense of loneliness in time."8<BR/>A fine example is "Who can be awake/the lamp still <BR/>burning ・cold rain at midnight" (Ryota 9 )<BR/><BR/>Despite undertones of melancholy in sabi, the more <BR/>desolate aspects of our human condition are, traditionally, sublimated. The sadness of transience is transcended when we go unresisting with the flow <BR/>of constant change. The loneliness that afflicts us all is not thus received, but at least for the moment, dissolved in interfusion with all around us. Tombo's <BR/>unspoken sadness over the loss of her son is, in the following, overwhelmed by her sense of the delicate beauty of one transient phenomenon:10<BR/><BR/> A hot summer wind ・<BR/> shadows of the windmill blades<BR/> flow over the grass <BR/><BR/>In the depth and breadth of a true haijin spirit such as Basho's, life's suffering and its sublime <BR/>moments of beauty and serenity are perfectly reconciled: <BR/>"A rough sea! ・Stretched out over <BR/>Sado/The Milky Way." 11<BR/><BR/>But sabi arises, above all, with the observation of the garden variety of "insignificant" detail <BR/>that makes up our ordinary lives, where sabi is not in the beauty, but rather the beauty is in the sabi. Indeed sabi is often best expressed through the "lonesome" bareness of a "poverty-stricken" style:<BR/><BR/> Visiting the graves: <BR/> The old dog<BR/> Leads the way.<BR/> ・Issa 12<BR/><BR/>However much a consensus on the meaning of sabi may elude us, a humble viewpoint of selfless <BR/>detachment seems to lead us into its realm of truth:<BR/><BR/> Resting . . .<BR/> the sagging fence<BR/> goes on up the hill<BR/> ・Foster Jewell 13<BR/><BR/><BR/>SOURCES:<BR/><BR/>1- R.H. Blyth, "Eastern Culture," HAIKU <BR/>Vol. I, pg. 289<BR/><BR/>2- R.H. Blyth, HAIKU Vol. III, pg. 903 <BR/>(edited version)<BR/><BR/>3- FROGPOND, November 1987<BR/><BR/>4- H.R. Blyth, "Eastern Culture," HAIKU <BR/>Vol. I, pg. 288<BR/><BR/>5- Alan Watts, THE WAY OF ZEN, pg. 186<BR/><BR/>6- R.H. Blyth, "Eastern Culture," pg. 186<BR/><BR/>7- AMBER, Spring 1989<BR/><BR/>8- William J. Higginson with Penny Harter, <BR/>THE HAIKU HANDBOOK, Glossary, Pg. 293<BR/><BR/>9- R.H. Blyth, HAIKU Vol. IV, pg. 1185<BR/>(edited version)<BR/><BR/>8- DRAGONFLY, July 1973<BR/><BR/>11- translated by Dana B. Young<BR/><BR/>12- H.R. Blyth, HAIKU Vol. IV, pg. 1028<BR/><BR/>13- VIRTUAL IMAGE, Summer-Fall, 1982<BR/><BR/>http://members.tripod.com/~Startag/Sabi.htmlAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-820047071744679108.post-79777277816752852092007-10-05T19:30:00.000-07:002007-10-05T19:30:00.000-07:00QUOTE from PhotoLife http://www.photolife.com/Wabi...QUOTE from PhotoLife <BR/>http://www.photolife.com/<BR/><BR/>Wabi-Sabi<BR/>Richard Martin <BR/><BR/>"The idea of wabi-sabi speaks of a readiness to accept things as they are. <BR/>This is contrary to Western ideals that emphasize progress and growth as necessary components to daily living. <BR/><BR/>Wabi-sabi's fundamental nature is about process, not final product, about decay and aging, not growth. <BR/><BR/>This concept requires the art of "slowness", a willingness to concentrate on the things that are often overlooked, the imperfections and the marks recording the passing of time. <BR/><BR/>For me, this is the perfect antidote to the invasive, slick, saccharine, corporate style of beauty."Anonymousnoreply@blogger.com