The only colors that embody iki are certain grays, browns, and blues.
., ‘two’ is qoyar in Classical Mongolian, iki in Turkish, and juwe in Manchu).
Tokyo Chutei Iki from Japan created a buzz beyond Asia with its restless ten-person (or sometimes more) baritone saxophone-only group.
They deal in everything from polo shirts and sweaters to bags, business card cases and other small accessories – all of which draw on the Edo-era concept of iki (sophistication).
Mutsu and Dewa in northeastern Honshu and islands such as Sado, Oki, Tsushima, and Iki were termed henkyō, or peripheral, lands.
Kuki distinguishes two further “moments” of iki in addition to its basis in seductiveness or coquetry (bitai): “brave composure” (ikiji) and “resignation” (akirame).
Also iki is the wearing of thin fabric, makeup thinly applied, hair styled not too formally, with the aid of water rather than oil, and a décolletage designed to call attention to the nape of the neck laid bare (Nara, 35–39).
Kuki is a fascinating thinker, and The Structure of Iki, while occasionally tortuous because of its commitment to a strictly European methodology, illuminates some fascinating aspects of the Japanese aesthetic tradition while at the same time engaging the deepest levels of experience anywhere.
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).
An unprejudiced reading of The Structure of Iki reveals no fascist tendencies whatsoever, and the nationalist themes are innocuous, simply calling for a remembering of what is valuable in the Japanese tradition and likely to be lost beneath the waves of modernization—in a world where connections with the past were withering and Japan was warding off the colonization of East and South Asia by the Western powers.
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An unprejudiced reading of The Structure of Iki reveals no fascist tendencies whatsoever and the nationalist themes are innocuous simply calling for a remembering of what is valuable in the Japanese tradition and likely to be lost beneath the waves of modernization—in a world where connections with the past were withering and Japan was warding off the colonization of East and South Asia by the Western powers