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Mono no aware

Mono no aware
Mono no aware (物の哀れ?), literally "the pathos of things", and also translated as "an empathy toward things", or "a sensitivity to ephemera", is a Japanese term for the awareness of impermanence (無常, mujō?), or transience of things, and both a transient gentle sadness (or wistfulness) at their passing as well as a longer, deeper gentle sadness about this state being the reality of life. Origins[edit] The term was coined in the 18th century by the Edo period Japanese cultural scholar Motoori Norinaga and was originally a concept used in his literary criticism of The Tale of Genji, later applied to other seminal Japanese works including the Man'yōshū. Etymology[edit] The phrase is derived from the Japanese word mono (物?) In contemporary culture[edit] In his book about courtly life in ancient Japan, The World of the Shining Prince, Ivan Morris compares mono no aware to Virgil's term lacrimae rerum, Latin for "tears of things".[2] See also[edit] References[edit] External links[edit] Related:  Food for thoughtQuotes

Ensō Ensō (c. 2000) by Kanjuro Shibata XX. Some artists draw ensō with an opening in the circle, while others close the circle. In Zen Buddhism, an ensō (円相, , "circle"?) is a circle that is hand-drawn in one or two uninhibited brushstrokes to express a moment when the mind is free to let the body create. Drawing ensō is a disciplined practice of Japanese ink painting—sumi-e (墨絵, "ink painting"?). The tools and mechanics of drawing the ensō are the same as those used in traditional Japanese calligraphy: One uses a brush (筆, fudé?) Usually a person draws the ensō in one fluid, expressive stroke.[1] When drawn according to the sōsho (草書?) This spiritual practice of drawing ensō or writing Japanese calligraphy for self-realization is called hitsuzendō (筆禅道, "way of the brush"?). Cultural appropriation[edit] The ensō was appropriated as a logo by the corporations Lucent Technologies of the United States and Obaku Ltd. of Denmark. See also[edit] Notes[edit] References[edit]

Wabi-sabi A Japanese tea house which reflects the wabi-sabi aesthetic in Kenroku-en (兼六園) Garden Wabi-sabi (侘寂?) represents a comprehensive Japanese world view or aesthetic centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete".[1] It is a concept derived from the Buddhist teaching of the three marks of existence (三法印, sanbōin?), specifically impermanence (無常, mujō?) Description[edit] "Wabi-sabi is the most conspicuous and characteristic feature of traditional Japanese beauty and it occupies roughly the same position in the Japanese pantheon of aesthetic values as do the Greek ideals of beauty and perfection in the West".[1] "If an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi The words wabi and sabi do not translate easily. Modern tea vessel made in the wabi-sabi style Western use[edit]

The Dictionary of Obscure Sorrows Lacrimae rerum Lacrimae rerum (Latin: [ˈlakrimai ˈreːrum][1]) is the Latin phrase for "tears of things." It derives from Book I, line 462 of the Aeneid (c. 29–19 BC) written by Roman poet Virgil (Publius Vergilius Maro) (70–19 BC). Some recent quotations have included rerum lacrimae sunt or sunt lacrimae rerum meaning "there are tears of (or for) things." The genitive "rerum" can be construed as "objective" or "subjective." The scholar David Wharton observes that the "semantic and referential indeterminacy is both intentional and poetically productive, lending it an implicational richness most readers find attractive." The context of the passage is as follows: Aeneas sees on the temple mural depictions of key figures in the Trojan War – the war from which he had been driven to the alien shores of Carthage as a refugee: the sons of Atreus (Agamemnon and Menelaus), Priam, and Achilles, who was savage to both sides in the war. See also[edit] Notes[edit] Jump up ^ "lacrimae rerum". References[edit]

Kireji Kireji (切れ字, lit. "cutting word"?) is the term for a special category of words used in certain types of Japanese traditional poetry. It is regarded as a requirement in traditional haiku, as well as in the hokku, or opening verse, of both classical renga and its derivative renku (haikai no renga). List of common kireji[edit] Classical renga developed a tradition of 18 kireji, which were adopted by haikai, thence used for both renku and haiku,[4] the most common of which are listed below:[5] ka: emphasis; when at end of a phrase, it indicates a question哉 kana: emphasis; usually can be found at a poem's end, indicates wonder-keri: exclamatory verbal suffix, past perfect-ramu or -ran: verbal suffix indicating probability-shi: adjectival suffix; usually used to end a clause-tsu: verbal suffix; present perfectや ya: emphasises the preceding word or words. Use of kireji[edit] Kireji in English haiku and hokku[edit] Kireji have no direct equivalent in English. Examples[edit] Mid-verse ya や[edit]

Three marks of existence The Three marks of existence, within Buddhism, are three characteristics (Pali: tilakkhaṇa; Sanskrit: trilakṣaṇa) shared by all sentient beings, namely: impermanence (anicca); suffering or unsatisfactoriness (dukkha); non-self (Anatta). There is often a fourth Dharma Seal mentioned:[citation needed] Together the three characteristics of existence are called ti-lakkhana in Pali or tri-laksana in Sanskrit. By bringing the three (or four) seals into moment-to-moment experience through concentrated awareness, we are said to achieve wisdom—the third of the three higher trainings—the way out of samsara. Thus the method for leaving samsara involves a deep-rooted change in world view. Anicca[4][edit] [Pronounced Anitcha/Anitya] All compounded phenomena (things and experiences) are inconstant, unsteady, and impermanent. Dzongsar Jamyang Khyentse Rinpoche states that in the four seals of the Mahayana, Nirvana should be viewed as "beyond extremes". Dukkha[edit] Anatta[edit] See also[edit] Buddhism

Read Roald Dahl's Heartbreaking Letter Urging Parents To Vaccinate Most of you probably know the beloved author Roald Dahl from his delightfully wacky children’s books, such as James and the Giant Peach, Charlie and the Chocolate Factory, or the BFG. But perhaps his most evocative, thought-provoking and eloquent writing is a heartbreaking essay he penned back in 1988 for a pamphlet published by the Sandwell Health Authority, in which he describes the death of his eldest daughter, Olivia, 26 years previously to measles. At the time of Olivia’s death, there was no vaccination for measles, a highly contagious viral infection that can lead to serious complications such as brain inflammation. Dahl didn’t have a choice over whether to vaccinate Olivia for measles, but his poignant letter makes clear his stance on vaccination. Measles: A Dangerous Illness Olivia, my eldest daughter, caught measles when she was seven years old. "Are you feeling all right?" "I feel all sleepy," she said. In an hour, she was unconscious. They are almost non-existent.

50 most inspiring quotes about books and reading The quotes about books you’ll see below are not the most famous ones. All of them, however, are highly motivating to rediscover the pleasure of reading. You may ask, what book quotes have to do with the ebook site. Ebook sites are still mostly focused on the issues related to technology rather than pleasures of reading. We believe that a reader has to learn only as much technology as it’s needed to fully enjoy the magic of reading. There is absolutely no difference between a hardcover book or an audiobook or a multimedia book application. The biggest pleasure comes from what we read, not from on what we read. The real difference, though, lies in our attitude to reading. Best quotes from books – recommended sites There are many sites where you can order your favorite book quote printed on a poster, mug, t-shirt, and tens of other products. Below you’ll find our recommendations – the sites that offer high-quality book quote designs on a large selection of items. Top article

Jo-ha-kyū Jo-ha-kyū (序破急?) is a concept of modulation and movement applied in a wide variety of traditional Japanese arts. Roughly translated to "beginning, break, rapid", it essentially means that all actions or efforts should begin slowly, speed up, and then end swiftly. The concept originated in gagaku court music, specifically in the ways in which elements of the music could be distinguished and described. Theatre[edit] It is perhaps in the theatre that jo-ha-kyū is used the most extensively, on the most levels. Zeami, in his work "Sandō" (The Three Paths), originally described a five-part (five dan) Noh play as the ideal form. This same conception was later adapted into jōruri and kabuki, where the plays are often arranged into five acts according to the same rationales. He described the first act as "Love"; the play opens auspiciously, using gentle themes and pleasant music to draw in the attention of the audience. Poetry[edit] See also[edit] References[edit] Jump up ^ Zeami.

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