bugyo in Edo

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. Edo bakufu 江戸幕府 The Edo Government and Administration .
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bugyoo, bugyō 奉行 Bugyo officials in the Edo government


source :　hakuzou.at.webry.info

江戸の名奉行 Famous Bugyo Governor from Edo
丹野顕 - Tanno Akira

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- quote from wikipedia -
Bugyō (奉行), often translated as "commissioner" or "magistrate" or "governor," was a title assigned to samurai officials of the Tokugawa government in feudal Japan; other terms would be added to the title to describe more specifically a given commissioner's tasks or jurisdiction.

During the Edo period, the numbers of bugyō reached its largest extent. The bureaucracy of the Togukawa shogunate expanded on an ad hoc basis, responding to perceived needs and changing circumstances.
- reference : wikipedia

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- - - ABC - List (to be updated) - - -

Doochuu bugyoo 道中奉行 - Dochu Bugyo - responsible for controlling the five routes out of Edo (Gokaido), their branch routes and related matters
. Edo Gokaidoo 江戸五街道 Edo Gokaido, Gokaidō - Edo Five Ruotes .

Edo machi-bugyō machibugyoo 江戸町奉行 – Magistrates or municipal administrators of Edo.
. Kita-machi-bugyō (北町奉行) – Kitamachibugyo - North Edo magistrate .
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-- Minami-machi-bugyō (南町奉行) – South Edo magistrate.
- - - More in the WIKIPEDIA !

. Tooyama 遠山景元 Toyama Saemon no Jo Kagemoto .
(1793 – 1855) Edo Machibugyo


Fukiage-bugyō 吹上奉行 - Supervising the Fukiage park 吹上御苑
..... 吹上花畑奉行, 吹上御花畑奉行

Fushin-bugyō 普請奉行 – Superintendents of Public Works.
- - - More in the WIKIPEDIA !

Gaikoku-bugyō 外国奉行 – Commissioners in charge of trade and diplomatic relations with foreign countries after 1858.
- - - More in the WIKIPEDIA !

Gunkan-bugyō 軍鑑奉行 – Commissioners in charge of naval matters (post-1859).
- - - More in the WIKIPEDIA !


Gusoku-bugyō 具足奉行 – Commissioners in charge of supplying the shogunal armies.
- - Bugu-bugyō 武具奉行 – Commissioners in charge of supplying the shogunal armies (post-1863), replaced Gusoku-bugyō.


Hakodate bugyō 箱館奉行 – Overseers of the port of Hakodate and neighboring territory of Ezo / Hokkaido.
- - - More in the WIKIPEDIA !

. Haneda bugyō 羽田奉行 Haneda Bugyo governor .
commissioners of coastal defenses near Edo (post-1853).

Hata bugyo 旗奉行　- Oversees the flags.

Hyōgo bugyō 兵庫奉行 – Overseers of the port of Hyōgo (post-1864). In the Amagasaki domaine.
- - - More in the WIKIPEDIA !


Jisha-bugyō 寺社奉行 – Ministers or administrators for religious affairs; overseers of the country's temples and shrines.
- - - More in the WIKIPEDIA !

Jiwari-bugyō 地割奉行- Commissioners of surveys and surveying. ...official with responsibility for surveying land ..


Kanagawa bugyō 神奈川奉行 – Overseers of the port of Kanagawa (post-1859).
- - - More in the WIKIPEDIA !

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Kanjō-bugyō 勘定奉行 – Kanjo Bugyo - Ministers or administrators for Shogunal finance (post-1787).
- - - More in the WIKIPEDIA !

-- Gundai 軍代　– Deputies.
-- Daikan (代官)- Assistant deputies.
. Daikanyama 代官山 - Shibuya .

-- Kane-bugyō 金奉行 – Superintendents of the Treasury.
- - - More in the WIKIPEDIA !

-- Kura-bugyō 倉庫奉行 – Superintendents of Cereal Stores.
- - - More in the WIKIPEDIA !

-- Kinza 金座 – Gold za or monopoly office (post-1595).
- - - More in the WIKIPEDIA !

--　. Ginza 銀座 . Silver za or monopoly office (post-1598).
- - - More in the WIKIPEDIA !

-- Dōza 銅座 – Copper za or monopoly office (post-1636)[14] and (1701–1712, 1738–1746, 1766–1768).
- - - More in the WIKIPEDIA !

-- Shuza 朱座 – Cinnabar za or monopoly office (post-1609).
- - - More in the WIKIPEDIA !

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Kanjō-ginmiyaku 　勘定吟味役　– Supervisor of Financial affairs.

Kantō gundai 　関東郡代　– Kantō deputies.

Kinzan-bugyō 金山奉行 – Commissioners of mines.

Koshimono no bugyoo 腰物奉行 - Superintendant of the Government swords and armour
..... 御腰物奉行, 御腰物頭. 御腰物番頭

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Kyoto shoshidai 京都所司代 -- Shogunal deputies in Kyoto.
- - - More in the WIKIPEDIA !

-- Kyoto machi-bugyō 京都町奉行 – Magistrates or municipal administrators of Kyoto.
- - - More in the WIKIPEDIA !

-- Fushimi bugyō 伏見奉行 – Magistrates or municipal administrators of Fushimi (post-1620).
- - - More in the WIKIPEDIA !

-- Nara bugyō 奈良奉行 – Governors of Nara.
- - - More in the WIKIPEDIA !

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Machi-bugyō, machibugyoo 町奉行 – Magistrates or municipal administrators in shogunal cities: Edo, Kyoto, Nagasaki, Nara, Nikkō, and Osaka.
- - - More in the WIKIPEDIA !

Nagasaki bugyō 長崎奉行 – Governor of Nagasaki. He enjoyed a lot of freedom with the foreigners.
- - - More in the WIKIPEDIA !

Niigata bugyō 新潟奉行 – Overseers of the port of Niigata.
- - - More in the WIKIPEDIA !

Nikkō bugyō 日光奉行 – Overseers of Nikkō.
Nikkō houses the mausoleum of shogun Tokugawa Ieyasu (Nikkō Tōshō-gū)
- - - More in the WIKIPEDIA !


Ongoku bugyoo 遠国奉行 - magistrates placed at important areas directly controlled by the government

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Osaka jōdai 大阪城代 – Overseers of Osaka Castle.
- - - More in the WIKIPEDIA !

-- Osaka machi-bugyō (大阪町奉行) – Magistrates or municipal administrators in shogunal cities.
- - - More in the WIKIPEDIA !

-- Sakai bugyō 堺奉行 – Overseers of the town of Sakai, a significant trade center
- - - More in the WIKIPEDIA !

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Rōya-bugyō 牢屋奉行 – Roya Bugyo Commissioners of the shogunal prison.
His official residence was immediately adjoining the same prison, in Kodenma-chō, Kodenmacho.
- - - More in the WIKIPEDIA !
. Kodenmachō 小伝馬町 Kodenmacho district .


. Sado Bugyo 佐渡奉行 Governor of Sado Island . - Niigata

Sakuji-bugyō 作事奉行 – Commissioners of works, architecture and construction matters (post-1632).
- - - More in the WIKIPEDIA !

Shimoda bugyō 下田奉行 – Overseers of the port of Shimoda and foreign trade in the area..
- - - More in the WIKIPEDIA !

Shomotsu bugyoo 書物奉行 - "Writing Magistrate - Since 1633
..... Go Shomotsu Bugyoo 御書物奉行
..... Momijiyama Bunko


Sunpu jōdai 駿府城代 – Overseers of Sunpu Castle (Shizuoka Castle).
- - - More in the WIKIPEDIA !


Uraga bugyō 浦賀奉行 – Overseers of the port of Uraga.
a port of inspection for Japanese coastal vessels
- - - More in the WIKIPEDIA !

Yamada bugyō 山田奉行 - Representatives of the shogunate at Ise Yamada 伊勢.
to supervise pilgrims and shrines in the area of the Grand Ise Shrine
The town of Ujiyamada 宇治山田,
- - - More in the WIKIPEDIA !

Yari bugyoo 槍奉行 - magistrate of spears

. Yoseba bugyoo 寄場奉行 Yoseba Magistrate .
ninsoku yoseba 人足寄場 rehabilitation facility for criminals / Ishikawajima 石川島 Ishikawa Island in 1790.
Hasegawa Heizô 長谷川平蔵　Hasegawwa Heizo

to be updated
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- quote -
Law Enforcement in the Edo Period
A COMPLICATED PATCHWORK
The system for maintaining law and order during the Edo period differed fundamentally from our modern system in that law enforcement and criminal justice were carried out by the same organs. That is to say, one agency or office carried out the functions that are today performed separately by police, prosecutors, and the courts. This means that the administrative and judicial functions of government were merged rather than deliberately separated as they are in modern democratic states.
- snip -
A PREMODERN POLICE COMMISSIONER
The third commissioner was the machi bugyô, literally “town commissioner,” sometimes translated as magistrate. The machi bugyô was the top law enforcement official of the most important shogunal domain of all, the city of Edo. If one were forced to choose a corresponding contemporary post, it would have to be that of police commissioner, but it would be more accurate to call the machi bugyô a combination of metropolitan governor, police commissioner, and district court chief justice, since his duties included the adjudication of civil and criminal cases and general administration, as well as administration of the city’s police functions. For this reason, separate police organs were established from time to time to supplement the functions of the machi bugyô. One of these was a special police force called the hitsuke tôzoku aratamekata, which was set up to crack down on vicious gangs of armed robbers; its chief was also selected from among the hatamoto.

Among the men who at one time or another served as magistrate or as chief of the hitsuke tôzoku aratamekata, the most famous evolved into legendary heroes glorified in Japanese novels, movies, and television series—a phenomenon recalling the depiction of Marshall Wyatt Earp in American novels, movies, and TV shows about the wild West.

In Edo there were at any given time two appointed magistrates referred to as the minami (south) and kita (north) bugyô. However, these names are misleading, giving rise to the misconception that each was in charge of half of the city. In fact, the two alternated on active duty, rotating each month; the south and north merely refer to the location of the two magistrates’ offices.

Working beneath the magistrates were supervisors called yoriki and lesser officers known as dôshin. Each magistrate’s office generally had 25 yoriki and somewhere around 120 dôshin (the exact number fluctuated over time). Thus, with the staff for the north and south combined, the entire Edo police force amounted to a mere 50 yoriki and 240 dôshin for a population estimated to have been at least 1 million from the eighteenth century on. To be sure, the magistrate’s office also employed low-ranking officials called chûgen and komono, but these merely provided supporting clerical and other services; only the yoriki and dôshin had police authority. Moreover, as noted above, the magistrate’s office handled not only the investigation and adjudication of criminal cases but also civil suits and general administration. Under the circumstances, how was such a small force able to maintain law and order in such a large city? In the following section, we will examine two important factors.

One factor that allowed the machi bugyô to get by with such a meager staff was the use of unofficial assistants. The dôshin, who handled the criminal investigations, all had working under them community informants known as meakashi or okappiki. These were common townsfolk, not samurai, with no official connection to the magistrate’s office. In many cases they were themselves criminals or even yakuza gang leaders. But they were useful resources for the dôshin because their familiarity with Edo’s underworld often put them in a position to provide information critical to a crime investigation.

Most of these undercover informants ran a business of some type as a means of supporting themselves and, in some cases, their henchmen; many owned restaurants or neighborhood vaudeville theaters. For their services, the dôshin paid them a small amount out of their own pockets. Of course, the use of underworld characters in criminal investigations was problematical in many ways, and the shogunate frequently issued edicts prohibiting the practice, but it seems the dôshin were unable to do without them.

The second factor facilitating the maintenance of law and order in Edo was the important role of community self-government associations. Each neighborhood (called machi or chô) in Edo had an organization made up of the area’s property owners and their managers or superintendents, and headed by someone referred to as the nanushi. The superintendents, known as ienushi or ôya, were in frequent contact with the tenants, who regarded them as powerful authority figures—a relationship frequently portrayed in the comic rakugo monologues of the period.

Working out of an office called the jishinban, the ienushi was charged with settling all kinds of disputes in the neighborhood, at least on a temporary basis, and otherwise keeping order within the community. This sort of self-governing capability no doubt contributed significantly to the maintenance of law and order in Edo. Of course, the communities were only autonomous within the limits set by the shogunate, and the system could be criticized for fostering an atmosphere of suspicion in which people’s activities were continually monitored by their neighbors. However, it also seems clear that it helped keep the peace in Edo by supporting the work of the city’s very modest police force.

We might also note that when the dôshin went on patrol, the jishinban was one of the regular stops along their route. The jishinban was also where suspects were temporarily taken into custody and questioned. All of this suggests that the jishinban was in fact the forerunner of the kôban (police boxes) for which the modern Japanese police system is known.

- - - - - read the full article here :
- source : japanecho.com/sum/2004 - YOSHINO Jun -

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. sankin kootai 参勤交代 Sankin Kotai Daimyo attendance in Edo
daimyoo gyooretsu, daimyō gyōretsu 大名行列　Daimyo procession .


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. Japanese Architecture - cultural keywords used in haiku .

. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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- #bugyo #edomachibugyo #edobakufu -
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hatamoto samurai

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hatamoto 旗本 samurai class
A direct retainer of the Tokugawa Shôgun.　"bannerman"


. . . . .  hatamoto

- quote
A hatamoto (旗本, "under the banners") was a samurai in the direct service of the Tokugawa shogunate of feudal Japan. While all three of the shogunates in Japanese history had official retainers, in the two preceding ones, they were referred to as gokenin　御家人.
However, in the Edo period, hatamoto were the upper vassals of the Tokugawa house, and the gokenin were the lower vassals. There was no precise difference between the two in terms of income level, but hatamoto had the right to an audience with the shogun, where gokenin did not. The word hatamoto literally means "at the base of the flag" and is often translated as "bannerman".
Another term for the Edo-era hatamoto was jikisan hatamoto (直参旗本), sometimes rendered as "direct Shogunal hatamoto", which serves to illustrate the difference between them and the preceding generation of hatamoto who served various lords.

- History -
The term hatamoto originated in the Sengoku period. The term was used for the direct retainers of a lord; as the name suggests, the men who were grouped "at the base of the flag". Many lords had hatamoto; however, when the Tokugawa clan achieved ascendancy in 1600, its hatamoto system was institutionalized, and it is to that system which we mainly refer today when using the term.

In the eyes of the Tokugawa Shogunate, hatamoto were retainers who had served the family from its days in Mikawa onward. However, the ranks of the hatamoto also included people from outside the hereditary ranks of the Tokugawa house. Retainer families of formerly defeated provincial strongmen like Takeda, Hōjō, or Imagawa were included, as were branch families of feudal lords. Also included were heirs to lords whose domains were confiscated (for example, Asano Daigaku, the brother of Asano Naganori), local power figures in remote parts of the country who never became daimyo; and the families of Kamakura Period and Muromachi Period Shugo (Governors) : some of these include the Akamatsu, Besshō (branch of the Akamatsu), Hōjō, Hatakeyama, Kanamori, Imagawa, Mogami, Nagai, Oda, Ōtomo, Takeda, Toki, Takenaka (branch of the Toki), Takigawa, Tsutsui, and Yamana families.
The act of becoming a hatamoto was known as bakushin toritate (幕臣取立て).

The hatamoto remained retainers of the main Tokugawa clan after the fall of the Shogunate in 1868, and followed the Tokugawa to their new domain of Shizuoka. The hatamoto lost their status along with all other samurai in Japan following the abolition of the domains in 1871.

- Ranks and roles -
The line between hatamoto and gokenin, especially amongst hatamoto of lower rank, was not rigid, and the title of hatamoto had more to do with rank rather than income rating. In the context of an army, it could be compared to the position of an officer.
Throughout the Edo period, hatamoto held the distinction that if they possessed high enough rank, they had the right to personal audience with the shogun (these hatamoto were known as ome-mie ijō　目見以上).
All hatamoto can be divided into two categories, the kuramaitori　蔵米取, who took their incomes straight from Tokugawa granaries, and the jikatatori 地方取, who held land scattered throughout Japan.
Another level of status distinction amongst the hatamoto was the class of kōtai-yoriai　交代寄合, men who were heads of hatamoto families and held provincial fiefs, and had alternate attendance (sankin kotai　参勤交代) duties like the daimyo. However, as kōtai-yoriai were men of very high income in terms of the spectrum of hatamoto stipends, not all jikatatori hatamoto had the duty of alternate attendance. The dividing line between the upper hatamoto and the fudai daimyo　—　the domain lords who were also vassals of the Tokugawa house　—　was 10,000 koku.

Some hatamoto could be granted an increase in income and thus promoted to the rank of fudai daimyo　譜代大名. However, this did not happen frequently. One example of such a promotion is the case of the Hayashi family of Kaibuchi (later known as Jozai han), who began as jikatatori hatamoto but who became fudai daimyo and went on to play a prominent role in the Boshin War, despite their domain's relatively small size of 10,000 koku.

The term for a hatamoto with income in the neighborhood of 8,000 koku or greater was taishin hatamoto 大身旗本　("greater hatamoto").

The hatamoto who lived in Edo resided in their own private districts and oversaw their own police work and security. Men from hatamoto ranks could serve in a variety of roles in the Tokugawa administration, including service in the police force as yoriki inspectors, city magistrates, magistrates or tax collectors of direct Tokugawa house land, members of the wakadoshiyori council　若年寄, and many other positions.

The expression "eighty thousand hatamoto" (旗本八万旗 hatamoto hachimanhata) was in popular use to denote their numbers, but a 1722 study put their numbers at about 5,000. Adding the gokenin brought the number up to about 17,000.
- source : wikipedia


. bugyoo, bugyō 奉行 Bugyo officials in the Edo government .


. sankin kootai 参勤交代 Sankin Kotai attendance in Edo
daimyoo gyooretsu 大名行列　Daimyo Gyoretsu procession .

under construction
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Hatamoto Taikutsu Otoko 旗本退屈男 : Ichikawa Utaemon 市川右太衛門
The Idle Vassal - The Bored Hatamoto



source : www.samuraidvd.com 　　



source : blogs.yahoo.co.jp/rsjjr083



source : roystudio.web.fc2.com


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THE ETA MAIDEN AND THE HATAMOTO
An old legend - Once upon a time, . . .


GENZABURÔ'S MEETING WITH THE ETA MAIDEN

. Eta and Burakumin 穢多 (えた) / 部落民 .


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. Japanese Architecture - cultural keywords used in haiku .

. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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Aesthetics bigaku

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Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美学

The most common terms for aesthetics and design will be introduced here.


CLICK for more photos !

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. basara ばさら / 婆娑羅 / バサラ flamboyant elegance .


. fuuryuu 風流 elegant, tasteful refined .
fuuga, fūga 風雅 fuga, elegance, sincerity
fuukyoo, fûkyô 風狂 fukyo, poetic eccentricity
fuugetsu, fūgetsu 風月 fugetsu, to enjoy the beauty of nature, lit, "wind and moon"


. iki　いき　/ イキ / 粋 / 意気 the CHIC of Edo .


karei　華麗　gorgeous, magnificent elegance


kazari　飾り　ornamentation, decoration


. koogei, kôgei　工藝　/ 工芸 Kogei, industrial art .

. Mingei 民芸 Beauty of Folk Art and Craft . 　　


. miyabi 雅　/ みやび court elegance .


. mono no aware ものの哀れ the pity / pathos of things .


. shibui　渋い / shibusa　渋さ subdued elegance .


. Storytelling in Japanese Art .


. yuugen 幽玄 yugen. deep, mysterious elegance .
and the Noh theater　能楽


. wabi and sabi 侘び　寂び .
wabi ... simple and quiet, austere refinement
sabi ... elegant simplicity, patina, rusty


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Japanese Aesthetics
First published Mon Dec 12, 2005;
Stanford Encyclopedia of Philosophy

Although the Japanese have been producing great art and writing about it for many centuries, the philosophical discipline in Japan corresponding to Western “aesthetics” did not get underway until the nineteenth century. A good way to survey the broader field is to examine the most important aesthetic ideas that have arisen in the course of the tradition, all of them before aesthetics was formally established as a discipline: namely, mono no aware (the pathos of things), wabi (subdued, austere beauty), sabi (rustic patina), yūgen (mysterious profundity), iki (refined style), and kire (cutting).

1. Introduction
2. Mono no aware: the Pathos of Things
3. Wabi: Subdued, Austere Beauty
4. Sabi: Rustic Patina
5. Yūgen: Mysterious Grace
6. Iki: Refined Style
7. Kire: Cutting
8. Ozu Yasujirō: Cinematic Cuts
Bibliography / Academic Tools / Other Internet Resources / Related Entries
- source : plato.stanford.edu

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Nihon no Bigaku 日本の美学 - monthly magazine


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- quote
Japanese Aesthetics, Wabi-Sabi, and the Tea Ceremony
Aesthetics (snip)
...
Japanese Aesthetics
To understand the art and aesthetics of Japan, it is necessary to investigate a Japanese world view, ideas about the nature of art, and influences brought about through contact with other cultures. The aesthetics of Japan developed in a unique fashion, partly because of its geographic location, a string of islands about 100 miles from Korea and 500 miles from China. Its isolation by the sea helped protect Japan from foreign invasion and allowed its rulers to control contact with other nations.

During long periods of self-imposed isolation, art forms and aesthetic ideas developed which were specifically Japanese. Over the centuries, when interactions with foreign cultures occurred, they influenced the traditional arts and aesthetics of Japan. For the purposes of this discussion, the focus will be on what remained essentially Japanese.

Traditional Japanese art and aesthetics we are most affected by the Chinese and by Buddhism, but influences from the West are also evident. For example, the Japanese made no distinction between fine arts and crafts prior to the introduction of such ideas by Europeans in the 1870s. The Japanese word that best approximates the meaning of "art" is katachi.
Katachi translates to mean "form and design," implying that art is synonymous with living, functional purpos e, and spiritual simplicity.

The primary aesthetic concept at the heart of traditional Japanese culture is the value of harmony in all things. The Japanese world view is nature-based and concerned with the beauty of studied simplicity and harmony with nature. These ideas are still expressed in every aspect of daily life, despite the many changes brought about by the westernization of Japanese culture. This Japanese aesthetic of the beauty of simplicity and harmony is called wabi-sabi.
- source : ntieva.unt.edu

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. Tea Ceremony Aesthetics .
Datsuzoku (脱俗) Freedom from habit or formula.
Fukinsei (不均整) Asymmetry or irregularity.
Kanso (簡素) Simplicity or elimination of clutter.
Seijaku (静寂)Tranquility.
Shibui/Shibumi (渋味) Beautiful by being understated,
Shizen (自然) Naturalness.
Yugen (幽玄) Profundity or suggestion rather than revelation.


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- - - - - Japanese aesthetics - wikipedia - - - - -
1 Shinto-Buddhism
2 Wabi-sabi
3 Miyabi
4 Shibui
5 Iki
6 Jo-ha-kyū
7 Yūgen
8 Geidō
9 Ensō
- - -Fukinsei: asymmetry, irregularity; Kanso: simplicity; Koko: basic, weathered; Shizen: without pretense, natural; Yugen: subtly profound grace, not obvious; Datsuzoku: unbounded by convention, free; Seijaku: tranquility.
©　More in the WIKIPEDIA !

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The one thing we can always count on in Japanese design is that aesthetics are important not only in the design industry, but also in the lifestyle of the citizens. From the culinary arts, to religion, to fashion, the visual aspect of life is an important part of Japanese culture. How a food is presented is just as important as how it tastes, if not more. It is then important to note how much aesthetics are important in the automotive industry of Japan.

Leon, an automotive design student at RMIT in Melbourne, Australia, has broken down the basic principles of Japanese aesthetics, and how they can help us better understand and work to Japanese design.
- source : vehicle4change.wordpress.com


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Kenya Hara On Japanese Aesthetics
by Oliver Reichenstein, 2009

What makes Japanese design so special? Basically, it’s a matter of simplicity; a particular notion of simplicity, different from what simplicity means in the West. So are things in general better designed in Japan? Well, actually, it’s not that simple…

The New York Times asked us to put them in touch with Kenya Hara, creative director of MUJI and professor at the Musashino Art University. The NYT wanted to know whether everything in Japan was designed as well as the famous bento boxes. Mr Hara gave an answer worth reading and contemplating. The text in the New York Times was shortened down to fit their format. We are proud to be able to provide the full text in English and in Japanese.

Why does it seem like Japan is more attuned to the appreciation of beauty? Do the Japanese value the aesthetic component and experience more than other places? Are things in general better designed in Japan?
When coming back to Tokyo from abroad, my first impression usually is: what a dull airport! And yet it’s clean, neat and the floors deeply polished. To the Japanese eye, there’s a particular sense of beauty in the work of the cleaning staff. It’s in the craftman’s spirit — “shokunin kishitsu” — which applies to all Japanese professionals, be they street construction workers, electricians or cooks.

A Japanese cleaning team finds satisfaction in diligently doing its job. The better they do it the more satisfaction they get out of it.

The craftman’s spirit, I think, imbues people with a sense of beauty, as in elaboration, delicacy, care, simplicity (words I often use). Obviously, this also applies to bento-making and the pride people take in making them as beautiful as they can.

There is a similar craftman’s spirit (“shokunin kishitsu” or “shokunin katagi“) in Europe. Yet in Europe I can see it coming alive only from a certain level of sophistication. In Japan, even ordinary jobs such as cleaning and cooking are filled with this craftman’s spirit. It is is common sense in Japan.

While Japanese are known for their particular aesthetic sense, I would say we also have an incapacity to see ugliness. How come?

We usually focus fully on what’s right in front of our eyes. We tend to ignore the horrible, especially if it is not an integral part of our personal perspective. We ignore that our cities are a chaotic mess, filled with ugly architecture and nasty signage. And so you have the situation where a Japanese worker will open a beautiful bento box in a stale conference room or on a horrendous, crowded sidewalk.

Are things in general better designed in Japan?
A central aesthetic principle in Japan is simplicity, but it is different from simplicity in the West. Let me explain the difference by comparing cooking knives. For example, the knives made by the German company Henckel are well crafted and easy to use because they are highly ergonomic. The thumb automatically finds its place when you grab the knife.

HENCKEL knife, photo by Kenya Hara
Japanese cooks who have special skills prefer knives without any ergonomic shape. A flat handle is not seen as raw or poorly crafted. On the contrary, its perfect plainness is meant to say, “You can use me whichever way suits your skills.” The Japanese knife adapts to the cook’s skill (not to the cook’s thumb). This is, in a nutshell, Japanese simplicity.

YANAGIBA knife, photo by Kenya Hara
The knife’s simple shape is not seen as poor or raw. Beauty beyond fanciness is an aesthetic principle that is sleeping at the bottom of Japanese perception. It’s also a guiding principle to Japanese high tech architecture, and the minimal products of Muji.

Applied to the bento this simply means: don’t try to be fancy; don’t overdo it. A beautiful bento is done using seasonal ingredients; it is done quickly and easily.
- source and Japanese text : ia.net/blog


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A History of Modern Japanese Aesthetics
by Michael F. Marra / Michele F Marra, 2001

This collection of twenty-one essays, a companion volume to Modern Japanese Aesthetics, constitutes the first history of modern Japanese aesthetics in any language. It introduces readers through lucid and readable translations to works on the philosophy of art written by major Japanese thinkers from the late nineteenth century to the present. Selected from a variety of sources, the essays cover topics related to the study of beauty in art and nature.
- source : books.google.co.jp

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The Aesthetic Feeling of the Japanese - 日本人の美意識

INSPIRED DESIGN - Japan's Traditional Arts
by Michael Dunn

anji, "suggestivity"; 暗示
kanso, "simplicity"; 簡素
fukinkoo,"asymmetry"; 不均衡
hakanasa, "transience"; 儚さ, 果敢なさ
ma, "space."　 間
. Japanese Design and Daruma .


Traditional Japanese Design: Five Tastes
Michael Dunn
Japanese craftsmen, fusing a love of natural materials like wood, bamboo, and clay with an eye for bold, essential form, elevated the design of utilitarian objects to an art unparalleled elsewhere in the world. Today the finest of these objects created for daily use are hugely popular-and eminently collectible.
This richly illustrated book, which accompanies a major exhibition organized by the Japan Society, is divided by five aesthetic tastes. It presents a superb selection of objects of lacquer, ceramics, metalwork, basketry, and textiles-ranging from humble tools for farmers to spectacular arms and armor, and refined utensils associated with the tea ceremony. Craft lovers, collectors, artists, and designers will welcome this tribute to these highly influential Japanese crafts.
- source : http://www.amazon.com


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John LaFarge - 　ジョン・ラファージ　
(March 31, 1835 – November 14, 1910)
He was a pioneer in the study of Japanese art.
. AN ARTIST'S LETTERS FROM JAPAN .


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Japanese Design: Art, Aesthetics and Culture
Patricia J. Graham - Spetember 2014
What exactly is the singular attraction of Japanese design? And why does Japanese style speak so clearly to so many people all over the world?
The Japanese sensibility often possesses an intuitive, emotional appeal, whether it's a silk kimono, a carefully raked garden path, an architectural marvel, a teapot, or a contemporary work of art. This allure has come to permeate the entire culture of Japan—it is manifest in the most mundane utensil and snack food packaging, as well as in Japanese architecture and fine art.
In Japanese Design, Asian art expert and author Patricia J. Graham explains how Japanese aesthetics based in fine craftsmanship and simplicity developed. Her unusual, full-color presentation reveals this design aesthetic in an absorbing way, using a combination of insightful explanations and more than 160 stunning photos. Focusing upon ten elements of Japanese design, Graham explores how visual qualities, the cultural parameters and the Japanese religious traditions of Buddhism and Shinto have impacted the appearance of its arts.
Japanese Design is a handbook for the millions of us who have felt the special allure of Japanese art, culture and crafts. Art and design fans and professionals have been clamoring for this—a book that fills the need for an intelligent, culture-rich overview of what Japanese design is and means.
- source : www.amazon.com


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Elements of Japanese Design
Boye Lafayette De Mente
Learn the elements of the timeless beauty that is Japanese design in this concise reference volume.
Japanese design is known throughout the world for its beauty, its simplicity, and its blending of traditional and contemporary effects. This succinct guide describes the influence and importance of 65 key elements that make up Japanese design, detailing their origins—and their impact on fields ranging from architecture and interior design to consumer products and high fashion.
Learn, for example, how the wabi sabi style that's so popular today developed from the lifestyle choices made by monks a thousand years ago. And how unexpected influences—like tatami (straw mats) or seijaku (silence)—have contributed to contemporary Japanese design.
Elements of Japanese Design offers new insights into the historical and cultural developments at the root of this now international aesthetic movement. From wa (harmony) to kaizen (continuous improvement), from mushin (the empty mind) to mujo (incompleteness), you'll discover how these elements have combined and evolved into a powerful design paradigm that has changed the way the world looks, thinks and acts.
- - - Chapters include:
Washi, Paper with Character
Ikebana, Growing Flowers in a Vase
Bukkyo, The Impact of Buddhism
Shibui, Eliminating the Unessential
Kawaii, The Incredibly "Cute" Syndrome
Katana, Swords with Spirit
- source : www.amazon.com


. Nichōsai 耳鳥斎 Nichosai, Nicho-sai and Kawaii 可愛い .
(?1751 - 1802/03)　- - A painter from Osaka.

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Japan Style
by Gian Carlo Calza
Japan Style, written by one of the world's most respected scholars of Japanese art and culture, is an authoritative and wide-ranging visual essay on the aesthetics of Japan.It serves as a unique handbook that aids an understanding of Japanese culture through its architecture, arts, crafts, cinema, and literature.
It gives an insight into the essence of Japanese culture, identifying its specific qualities and characteristics from ukiyo-e to Tadao Ando. The author draws connections between art, religion, history, philosophy, and mythology, using the links to frame specific examples of Japanese cultural memes.
The book features over 150 illustrations ranging from the traditional to the contemporary. Japan Style is a perfect introduction to Japanese style and culture.
- source : www.amazon.com




A Grammar of Japanese Ornament and Design
by Thomas W. Cutler
With the opening of Japan to the West in the mid-19th century, much of Japanese life that had been sealed off from the rest of the world for centuries was now revealed to the public at large — including the artistic styles and subjects depicted in this excellent collection. Rendered by a trained British architect, the images comprise one of the most comprehensive surveys of Japanese art and ornamentation. Included are graceful details from landscapes, floral motifs, abstracts, sea life, and other designs — ideal for use in modern textiles, graphics, and a host of other art and craft projects.
A delight for anyone interested in Japanese art and culture, this volume will be an invaluable source of permission-free graphics for designers and decorators in search of new subjects with authentic Japanese flavor. Over 300 figures on 65 plates.
- source : www.amazon.com


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WA: The Essence of Japanese Design
Stefania Piotti
Explore the enduring beauty of Japanese design through some 250 objects, ranging from bento boxes, calligraphy brushes, and Shoji sliding doors to Noguchi’s Akari lamp, the iconic Kikkoman soy sauce bootle, and a modern‐day kimono designed by Issey Miyake.
Printed on craft paper and bound in the traditional Japanese style, WA features stunning, full‐page illustrations and an introduction by MUJI art director Kenya Hara.
- source : www.amazon.com


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Influence of Japanese Art on Design
Hannah Sigur, 2008
This stunning book explores the story of Japan as the catalyst of modern design in the Gilded Age. Author Hannah Sigur juxtaposes glass, silver and metal arts, ceramics, textiles, furniture, jewelry, advertising, and packaging with a spectrum of Japanese materials ranging from one-of-a-kind art crafts to mass-produced ephemera, showing the ways that Japanese arts and ideas about Japan changed the world.
The "Japan Craze" came at a time of radical change in society. Western culture was yearning for the values of a past it believed were embodied in Japanese traditional arts, and Japan felt the demand for modernity it saw embodied in the West. During this time, both traditional arts and modern manufactures from Japan became the focus of an international coterie of artists, dealers, and thinkers who proselytized Japanese aesthetics as a model.
- source : www.amazon.com

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Zen and the Fine Arts
Shin'ichi Hisamatsu (Author), G. Tokiwa (Translator)

Examples of painting, architecture, gardens, drama and ceramics probe the relationship between Zen Buddhism and the fine arts.

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- further reference and books


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. Japanese Architecture - cultural keywords used in haiku .

. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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kingin Gold and Silver

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kingin　金銀 Gold and Silver in Japanese Art



. byoobu, tsuitate 屏風 / 衝立 folding screens, standing screens .


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- quote
The Yamatane Museum presents a brilliant show
“Gold and Silver:
All That Glitters in Japanese Art, From the Rimpa School to Kayama Matazo”
Alice Gordenker

Gold and silver have long been used in Japanese painting for their decorative value, on works ranging from intimate handscrolls to large-scale screens. But as the current exhibition at the Yamatane Museum of Art makes amply clear, in the last century or so tradition has been improved upon as modern and contemporary painters developed innovative and creative new ways to use these precious metals.

The three basic methods, believed to have been transmitted to Japan from China, are sprinkling gold or silver dust (sunago); applying gold or silver leaf (haku) and mixing finely ground gold or silver leaf with glue to make a kind of paint (dei).

Iwasa Matabei (1578-1650)

Taikan Yokoyama (1868-1958), for example, experimented with gold and silver as a means to add light. In “Mt. Kisen” (1919), he applied gold leaf to the back of Japanese paper so that a faint glimmer of the gold would show through the weave, imparting a soft and gentle light to the mountain scene on the front. In “Bamboo,” painted the same year, he applied gold leaf to the entire underside of silk and painted a scene of bamboo in ink on the front. What would have been a monochrome work in shades of gray, black and white is transformed into a luminous, highly atmospheric scene that might be a bamboo forest in early morning light or after a rain.



Gyoshu Hayami (1894-1935), too, sought new forms of expression through the use of gold and silver. In “Camellia Petals Scattering” (1929), a large two-part screen that was the first work from the Showa Era (1926-1989) to be designated an Important Cultural Property, he used gold powder to create a dazzling, intensely flattened backdrop for a camellia tree in full bloom. The technique he used, which is called makitsubushi, involves grinding gold leaf into an extremely fine powder. The process requires five times as much gold as covering the same space with gold leaf, but produces a smooth, even surface that reflects light in complex ways and allows for subtle shading in color.

Matazo Kayama (1927-2004) explored the potential of gold and silver as he sought to blend classical forms with contemporary sensibilities. In “Screen with Floral Fans” (1966), he incorporated traditional motifs, such as fans, waves and patchworks of torn paper, with bold color and very large designs.

... ancient Buddhist sutras written in gold and silver on paper dyed with indigo ...

Ryushi Kawabata (1885-1966)

- source : Japan Times


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- quote
- Highlights of the Exhibition



Fujiwara no Koreyuki, "Boshin-gire" Fragment of the Wakan Rōeishū Poetry Anthology [Important Art Object], Ink on Decorated Paper, Heian Period, 12th Century, Yamatane Museum of Art *
Iwasa Matabei, Court Ladies Enjoying Wayside Chrysanthemums [Important Cultural Property], Ink, Gold and Light Color on Paper, Early Edo Period, Early 17th Century, Yamatane Museum of Art *
Painting by Tawaraya Sōtatsu, Calligraphy by Hon'ami Kōetsu, Album of Paintings and Poems, Ink, Gold and Silver on Paper, Edo Period, 17th Century, Yamatane Museum of Art ***
Sakai Hōitsu, Autumn Plants and Quails [Important Art Object], Color on Gold-Leafed Paper, Edo Period, 19th Century, Yamatane Museum of Art
Suzuki Kiitsu, Silver Grass Folding Screen, Ink on Silver-Leafed Paper, Edo Period, 19th Century, Chiba City Museum of Art（on display 11/5-11/16）


Yokoyama Taikan, Mt. Kisen, Color on Paper, Taishō Period, 1919, Yamatane Museum of Art

Matsuoka Eikyū, Court Ladies in Spring Clothing, in the Spring Sunlight, Color on Silk, Taishō Period, 1917, Yamatane Museum of Art
Okumura Togyū, Cormorants, Color on Gold-Leafed Paper, Shōwa Period, 1966, Yamatane Museum of Art
Kawabata Ryūshi, Seeds of Grasses, Color on Gold-Leafed Paper, Shōwa Period, 1931, Ryushi Memorial Museum

Hayami Gyoshū, Camellia Petals Scattering [Important Cultural Property], Color on Gold Ground on Paper, Shōwa Period, 1929, Yamatane Museum of Art
Hayami Gyoshū, Spider's Trap beneath the Leaves / Moths Dancing around the Light: from "Two Themes on Insect Life", Color on Silk, Taishō Period, 1926, Yamatane Museum of Art

Kayama Matazō 加山又造, Light of the Full Moon, Color on Paper, Shōwa Period, 1973, Yamatane Museum of Art
Kayama Matazō, Folding Screens with Floral Fan Paintings, Color on Silk, Shōwa Period, 1966, Yamatane Museum of Art

Tabuchi Toshio, Embanked Village, Color on Paper, Shōwa Period, 1979, Yamatane Museum of Art


Yamamoto Kyūjin, Volcano at Midday, Color on Paper, Shōwa Period, 1959, Yamatane Museum of Art

Approximately 80 works will be displayed.

輝ける金と銀―琳派から加山又造まで



Yamatane Museum of Art 山種美術館　
was founded in 1966 by Taneji Yamazaki who has donated his numerous collection of Japanese art.
- source : www.yamatane-museum.jp


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. Japanese Architecture - cultural keywords used in haiku .

. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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miyabi elegance

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Miyabi 雅　/ みやび court elegance

- quote
one of the oldest of the traditional Japanese aesthetic ideals, though perhaps not as prevalent as Iki or Wabi-sabi.
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." It expressed that sensitivity to beauty which was the hallmark of the Heian era. 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.

The ideal posed by the word 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." It expressed that sensitivity to beauty which was the hallmark of the Heian era. 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. An example of this would be one of a lone cherry tree. The tree would soon lose its flowers and would be stripped of everything that made it beautiful and so it showed not only mono no aware, but also miyabi in the process.

Adherents to the ideals of miyabi strove to rid the world of crude forms or aesthetics and emotions that were common in artworks of the period, such as those contained in the Man'yōshū, the oldest extant collection of Japanese poetry. The Man'yōshū contained poems by people of every walk of life, many of which stood in stark contrast to the sensibilities of miyabi. For example, one poem in the collection likened a woman's hair to snail innards. The ideals of miyabi stood firmly against the use of metaphors such as this. Furthermore, appreciation of miyabi and its ideal was used as a marker of class differences. It was believed that only members of the upper class, the courtiers, could truly appreciate the workings of miyabi.

Miyabi in fact limited how art and poems could be created. Miyabi tried to stay away from the rustic and crude, and in doing so, prevented the traditionally trained courtiers from expressing real feelings in their works. In later years, miyabi and its aesthetic were replaced by ideals inspired by Zen Buddhism, such as Wabi-sabi, Yuugen and Iki.



The characters of the classic eleventh-century Japanese novel "The Tale of Genji" by Lady Murasaki provide many excellent examples of the true nature of miyabi.
- source : wikipedia


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. Higashiyama Culture 東山文化　- Kyoto .
Ginkaku-Ji 銀閣寺 "Silver Pavillion"


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. Genji Monogatari　 源氏物語 Tale of Genji .


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. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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iki chic of Edo

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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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Iki/Tsū / 「いき」の構造. iki no kozo
Aso Isoji 麻生磯次 (1896 - 1979)
Nihon bungaku köza (Tokyo: Kawade shobó, 1954)

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- quote -
iki　いき
The aesthetic ideal of the Edo merchant class during the late 18c and 19c, combining material sensuality and elegant sophistication.
Iki means "spirit" or "life" but came to mean the spirited or lively way in which someone lived, as well as the styles of fashion and art that expressed this lifestyle. The term is usually written with the character 粋 which is read sui in the kamigata 上方 (Kyoto-Osaka region).
The Edo conception of iki grew out of sui, but altered it to suit the Edo taste, subduing the colour sense and adding a note of sensual appeal. Iki also has roots in the early and mid Edo period ideal of date だて, expressing much the same brash manner of the merchant class, the up-to-date sense of style, and lustful or decadent flair.
By the end of the 19c, however, the privileged merchant ranks refined the somewhat vulgar original meaning of iki to reflect the more sophisticated style of someone possessing wealth but not attached to it, familiar with sensual pleasures but not a slave to them, and aware of current fads but able to rise above them. The term thus included elements associated with tsuu 通. Iki was broadly influential in early 19c fashion and art, but perhaps the ideal expression of iki was found in the culture of the Edo pleasure quarters as exemplified by the Tatsumi 辰巳 (Fukagawa 深川) geisha 芸者 and in the alluring pictures of beautiful women bijinga 美人画, produced by Keisai Eisen 渓斎英泉 (1790-1848) and Utagawa Kunisada 歌川国貞 (1786-1864).
- source : JAANUS -

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- quote -


Iki (粋) in Ukiyo-e Prints - - Eishi (栄之) and Eizan (英山)
Edo was the center of a trend-setting merchant culture that prized the fashionable, sophisticated, and up-to-date. One aspect of Edo-period style and fashion was called iki ("refinement": 粋 or 粹), a quiet sophistication or restrained chic in both appearance and behavior.
The Edokko (lit., children of Edo: 江戸っ子) or native Edo citizens
are said to have recognized three primary elements within iki.
The first was hari ("spirit"), a sharp, direct, and uncompromising social style that was balanced and cool. The Yoshiwara courtesans, so often the subject of ukiyo-e prints, were the epitome of hari.
The second aspect was called bitai ("allure"), a flirtatiousness that spoke of a restrained eroticism. Thus a woman possessing bitai was charming but neither vulgar nor wanton.
The third element was akanuke ("urbanity"), an unassuming stylishness or polish without pretentiousness. There was an aspect of disinterest in akanuke that suggested the ideal beauty was restrained, not necessarily perfect, and always pleasant.
One other component of iki was especially important for its depiction in ukiyo-e.
Iki was imbued with the tension of male-female relations. Erotic charm expressed in bitai existed primarily in the realm of the potential and a state of anticipation. As a woman's allure embodied iki only when she was available, a married woman did not typically possess iki, although ukiyo-e printmakers seemed to enjoy portraying married woman as such, suggesting the spark of illicit relations.
Around the mid-eighteenth century
the technique of yûzen (painted resist) dyeing of textiles had freed artistic expression by providing a way to render small, precise details and complicated coloring, but eventually the public seemed to tire from an excess of intricate patterns. While elaborate displays of luxurious kimono and accessories were not abandoned, there was a shift in interest toward more restrained dress consistent with the ideals of iki. The kimono of the skilled entertainers called geisha ("accomplished persons") were simpler than those worn by high-ranking courtesans andtheir fashions became the measure of restrained chic or iki that others, including courtesans, sometimes emulated.
The image above
illustrates the left-hand sheet of an ôban-format triptych by Chôbunsai Eishi (鳥文齋栄之 1756-1829) published by Iwatoya Kisaburô c. early 1790s.
It depicts a geisha with her two female attendants (one carrying a samisen case) and a wakashu (an elegant young man) leading the way while holding a paper lantern. They are about the enter the garden of the Matsumoto Teahouse whose gate is just visible at the far right. The center and right-hand sheets (not shown here) depict three standing women greeting the entertainers and a woman serving food to two others. In Eishi's print the geisha wears a kimono indicative of the restraint associated with iki. It shows a simple pattern of leaves against a russet ground; even her obi is an unpatterned orange. Eishi's composition has a peaceful and sophisticated aspect that is the hallmark of his style.
- read more here
- source : viewingjapaneseprints.net... -


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Edokko (江戸っ子 / 江戸ッ子, 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 !

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Edokko
People born and raised in Tokyo are sometimes referred to as "Tokyokko" ("people of Tokyo"), but not very often. They are usually referred to as "Edokko" ("people of Edo," Edo being Tokyo's name in premodern times). The word expresses nostalgic admiration for the old life and ways, and the pride that comes from being able to trace one's household or lineage back to the Edo period (1603-1868) and from possessing a certain quality that sets one apart from people born in the provinces.

Boisterous, Quick-Tempered, but Lovable
The word Edokko is said to have made its first appearance in 1771 in a senryu (a humorous and/or satirical poem):
"Edokko no / waranji o haku / rangashisa."
The gist of the poem, a commentary on the Edokko character and behavior, is that Edokko are noisy even when they are wearing straw sandals. These cantankerous townsfolk were supposedly so impatient that they were unwilling even to take the time to tie the cords of their sandals, so their approach was heralded by a noisy flapping sound.

The Edo period writer Santo Kyoden (1761-1816), who depicted the pleasure quarters and popular customs of the day, made reference to Edokko in the 1787 Tsugen somagaki ("A Dilettante's Report on the Top Brothels"), one of the genre known as sharebon ("witty books") that portrayed life in the pleasure quarters. As Kyoden wrote in this book, Edo denizens had a superiority complex born of living in close proximity to, and drinking the same water as, the shogun. Kyoden portrayed the trueborn Tokyoite as someone who lived in the Nihonbashi district and who never let the sun rise on his earnings.

So has this character known as the Edokko been around since the time of Tokugawa Ieyasu (1542-1616), the warrior chieftain who established the Tokugawa shogunate and chose Edo as its headquarters? Edokko were not yet around in the early part of the eighteenth century. In 1590, when Ieyasu began constructing the new castle town, he gathered merchants and craftsmen from places including Mikawa and Suruga, which he ruled; Kyoto, Japan's capital at the time; and Osaka, the nation's commercial hub. The merchants and artisans who came to Edo did not refer to themselves as Edokko. Most of them merely viewed themselves as being on temporary assignment or business travel to their branch locations in Edo. On an everyday basis, they spoke their provincial dialects and made little effort to familiarize themselves with the culture or customs of Edo, which was not yet the capital.

However, in the latter half of the eighteenth century, the merchants and craftsmen who had taken up residence in the new capital came to form a composite picture of the classic Edo denizen. The characters who made up the picture included the merchants along the riverbanks; the craftsmen and merchants of Nihonbashi; the moneylenders of the Kuramae district in Asakusa; and the masters of shops in Shinkawa, Reiganjima, and the lumberyard district of Kiba.
These people were the Edokko who emerged in the late 1700s. People like them formed the distribution mechanism via which money and goods flowed into Edo under the revenue-increasing economic policies of Tanuma Okitsugu (1720-1788), a high official in the Tokugawa government. The new capital's economy, heretofore dominated by the economies of Kyoto, Osaka, and vicinity, was at last producing its own wealthy merchants, born and bred in Edo. These large merchants, blessed with financial freedom, had no need to boast or put on airs. Warriors and merchants mixed freely without regard to social station and expressed their style and connoisseurship in woodblock prints and the novelettes about the pleasure quarters known as sharebon. They established a unique Edo culture, distinguished not least by the steady, year-round whirl of festivals and temple and shrine visits. But after Tanuma fell out of power, the culture and creativity sparked by his energy were reined in by the belt-tightening reform policies of his successor, Matsudaira Sadanobu (1758-1829), who favored getting back to the basics of samurai government. The lively culture that had produced and then come to be defined by the Edokko went on the decline.

Starting in the late eighteenth century, the desolation of farming villages intensified, and an influx of farmers into the capital fueled a sharp increase in the ranks of Edo's lower classes. Some of these newcomers blended adeptly into Edo society and passed themselves off as Edokko, eventually far outnumbering the established residents who looked down their noses at the arrivistes.

This trend disrupted the social order of born-and-bred city dwellers and engendered feelings of anxiety, but rather than wreak havoc, the new arrivals adopted the Edokko attitude.

The Late Edo period: When True Edokko Were a Rarity
In the nineteenth century, the new Edokko formed the nucleus of a new culture, known as "Kasei culture," that was centered on the townspeople. Particularly flourishing elements of this society included shrine visits, festivals and fairs, and flower-viewing and snow-viewing parties. These events and pastimes were supported by the publication of guides to the new hotspots for enjoying them, and pleasure trips and circuit pilgrimages became all the rage. Ukiyo-e (woodblock prints depicting scenes of everyday life) by artists like Hokusai (1760-1849) and Hiroshige (1797-1858) with their daring composition and lavish kabuki productions characterized by ghost stories or quick-change artistry can also be cited as defining elements of this culture. In contrast with the privileged culture of the Tanuma days, the culture that flowered in this era was amenable to enjoyment by the large numbers of people who had flocked to Edo. That is why the commercialization and popularization of culture are said to have taken place during this era.

By the end of Japan's feudal era, large numbers of people were referring to themselves as Edokko, and a definition of Edokko was spelled out. A true Edokko was defined as a child of two Edo-born parents. A person with one Edo-born parent was said to be madara ("speckled" or "striped"), and someone whose parents were both born outside Edo was an inakakko ("country child").
Under that definition, true Edokko were said to account for only 1 in 10 Edo residents.

- source : web-japan.org/tokyo/know- / Shousei Suzuki


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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.

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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 .

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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 .

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江戸名所と粋の浮世絵切手のデータ
Famous places and IKI on stamps



歌川広重　　-- 　「名所江戸百景　するがてふ」　　　　　
喜多川歌麿　-- 　「婦女人相十品　文読む女」 Woman reading a letter　　　　　
歌川広重　　-- 　「名所江戸百景　神田紺屋町」　　　　　
東洲齋写楽　-- 　「三代沢村宗十郎の大岸蔵人」　　　　　
歌川広重　-- 　「名所江戸百景　浅草田甫　酉の町詣」Asakusa Ricefields and Torinomachi Festival　
喜多川歌麿　-- 　「錦織歌麿形新模様　白うちかけ」　　　
歌川広重　-- 　「名所江戸百景　王子滝の川」　　　　　
東洲齋写楽　-- 　「谷村虎蔵の鷲塚八平次」　Washizuka Happeiji (Yaheiji) 　　　　　　
歌川広重　-- 　「名所江戸百景　上野山した」　　　　　
喜多川歌麿　-- 「名所腰掛八景　ギヤマン」gyaman
- - - gyaman (diamond) or kind of cut glass and 看板娘 kanban musume　　

with explanations of the places and persons.
- reference source : 7umi.com/10html/10furu -

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bibliography on "iki" 粋, "to be cool" in a simplest equivalent:

- - - - - Iki Bibliography

Botz-Bornstein, Thorsten (1997). "Iki," Style, Trace: Shūzō Kuki and the Spirit of Hermeneutics, Philosophy East and West 47(4):554-580. Clark, John and Matsui Sakuko, trans. Reflections on Japanese Taste: The Structure of Iki by Kuki Shuzo (Sydney: Power Publications, 1997)

Clark, John (1998). Sovereign domains: The structure of 'Iki', Japan Forum10(2):197-209. Kosaka Kenji (1989). "An algebraic reinterpretation of Iki No Kozo (Structure of Iki)", The Journal of Mathematical Sociology14(4):293-304.

Mara, Michael. Kuki Shuzo: A Philosopher’s Poetry and Poetics (Hawaii 2004)

Mostow, Joshua S. “Utagawa Shunga, Kuki's 'chic,' and the construction of a national erotics in Japan,” Performing "Nation" Gender Politics in Literature, Theater, and the Visual Arts of China and Japan, 1880-1940, Brill 2008, pp. 383-424. Nara Hiroshi, Rimer, Thomas J., Mikkelsen, Jon Mark (2004). The Structure of Detachment: The Aesthetic Vision of Kuki Shūzō, Honolulu: University of Hawai'i Press.

Nishiyama, Matsunosuke. Edo Culture (Hawaii 1997)

Pincus, Leslie (1991). "In a Labyrinth of Western Desire: Kuki Shuzo and the Discovery of Japanese Being," boundary 2 18(3):142-156. Pincus, Leslie (1996). Authenticating Culture in Imperial Japan: Kuki Shūzō and the Rise of National Aesthetics, Berkeley CA: University of California Press. Mayeda, Graham (2006). Time, Space and Ethics in the Philosophy of Watsuji Tetsuro, Kuki Shuzo, and Martin Heidegger, New York: Routledge

Higaki Tatsuya (2014). "Deleuze and Kuki: The Temporality of Eternal Return and un coup de ds", Deleuze Studies 8(1):94-110.

- - - - - Japanese:

安田武 多田道太郎『『「いき」の構造』を読む』朝日選書132 1979

九鬼 周造「九鬼周造全集: 「いき」 の構造 ;「いき」の本質」『九鬼周造全集 第 第 1 巻 』天野貞祐, 澤瀉久敬, 佐藤明雄et. al.、岩波書店, （1980）2012

九鬼 周造「資料篇 (九鬼周造全集 別巻)」『九鬼周造全集 第 第 1 巻 』天野貞祐, 澤瀉久敬, 佐藤明雄et. al.、岩波書店, 2012

九鬼 周造『「いき」の構造 他二篇』 (岩波文庫) 文庫、岩波書店; 改版1979

Thanks to Yoshio Kusaba san!

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. Japanese Architecture - cultural keywords used in haiku .

. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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