ysabetwordsmith (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
ysabetwordsmith) wrote2025-03-11 01:57 am
ysabetwordsmith) wrote2025-03-11 01:57 am
Entry tags:
Poem: The Daughters of Entropy haiku collection
This haiku collection is spillover from the March 4, 2025 Poetry Fishbowl. It was inspired by a prompt from scrubjayspeaks. It also fills the "Wisdom" square in my 3-1-25 card for the Tolkien Bingo Fest. This collection has been sponsored by Anthony Barrette.
"The Daughters of Entropy"
life is always full
of challenges, surprises,
and moments of joy
* * *
Old Man Entropy
is everywhere, making things
wind down and decay
* * *
his younger daughter
Poor Little Girl delights in
the humble beauties
* * *
his older daughter
Beautiful Broken Girl loves
all that's old and worn
* * *
they are the spirits
of flaws that make everything
in life worthwhile
* * *
the garden sculpture
is imperfect -- fukinsei,
so too is nature
* * *
the pain of loss must
come to everyone, even
the flowers: seeds fall
* * *
no plants left for sale --
kanso, eliminate all
that is excessive
* * *
a beautiful day
clouds flying and birds singing
and then, a sunburn!
* * *
a broken flagstone --
koko, the beauty of cracks
unrepaired, unique
* * *
a gardener steps
upon the tines of a rake:
test of alertness!
* * *
the plant died, but why
did it die? yūgen, some things
aren't meant to be known
* * *
the tourists have no
common sense: to them it is
just a spectacle
* * *
the store is out of
butter, eggs, milk, everything ...
be content, make do
* * *
a torn shirt, laughter --
datsuzoku, be honest
and not popular
* * *
peacock trees open
in the dazzle of sunrise:
now you're seeing spots
* * *
calm beach, still water,
everything is so peaceful --
then sand fleas, yi yi!
* * *
late frost kills gardens,
but seijaku, stillness makes
everything tranquil
* * *
the tiny details
of misery -- a wet shirt,
an itch -- so human
* * *
the antique desk cracks:
mujō, nothing in this life
can last forever
* * *
even the stars die,
but without novas, there would
be no nebulae
* * *
oh, what a headache!
ku, ku, to be suffering
is to be alive
* * *
waiting and waiting
for mail from another world:
alas, it is lost
* * *
the forest is burnt --
munen, munen, plant new seeds
without desire
* * *
rusted space shuttle
will never fly but it makes
a great garden shed
* * *
crash of broken vase --
mushin! don't overthink it,
just go clean it up
* * *
it is no great doom
but the petty bad days that
can crush the spirit
* * *
wind blows leaves over
fresh-raked yard: fudōshin, the
immovable mind
* * *
so the pot you made
is ugly -- so what? muso:
bear no illusions
* * *
the hurricanes rage
around the world: disaster's
an understatement
* * *
overgrown garden --
tenshin, universal mind
and perfect freedom
* * *
the wind grabs your page
and runs away down the street
laughing at your loss
* * *
the world is chaos,
but heijoshin: make your mind
normally ordered
* * *
to be alive is
to suffer loss, but also
to know compassion
* * *
meditation fails --
whatever mind you have is
your everyday mind
* * *
even after men
conquered space, the rain gets through
the roof: drip, drip, drip
* * *
everything is wrong --
muga: where there is no self,
no blame and no shame
* * *
wind and water carve
rocks over years, but a man
can't wait five minutes
* * *
drop the puzzle box,
watch the contents scatter, then
pick up the pieces
* * *
one bell missing from
a battered old wind chime: ma,
silent interval
* * *
a planet in space
the loneliness of it all
drifting in the dark
* * *
hanami: watching
the cherry blossoms, and pests
that ruin cherries
* * *
the water still runs
but the old bamboo fountain
has a crack in it
* * *
a stone in your shoe
feels like a mountain peak as
you step over it
* * *
tsukimi, but the
moon does not deign to be viewed
ah, disappointment
* * *
as a watch winds down,
entropy eats everything
at the end of time
* * *
Old Man Entropy
stops order from engulfing
everything out there
* * *
the Daughters of Entropy
turn everyday wear and tear
into works of art
* * *
when you are weeping,
the tender touch of the rain
wipes away your tears
* * *
wisdom is knowing
that you are not at fault for
all the world's evils
* * *
even the worst day
is still a day that you are
alive to suffer
* * *
the gods made rainbows
to show us that broken things
are still beautiful
* * *
Notes:
In my main science fiction setting, three colonies settled relatively close together. Common Ground valued common sense and practicality above all else. Picture This! The REAL Artists Colony appreciated beauty in all things. The solar system of Rainbow's End was settled by the queer community on two inhabited planets, and included a fair number of Asians also. Sodom was smaller and drier, settled primarily by gay men and kinksters; Gomorrah was larger and wetter, settled primarily by lesbians and sailors. Each had its own challenges.
One thing the Asian colonists contributed was the idea of guardian spirits rising from nature or family ancestors, beings of enlightenment who could inspire the living to better lives. So they began to speak of O-suisei-san, Wabiko and Sabiko: Old Man Entropy and his two daughters, Poor Little Girl and Beautiful Broken Girl. They taught humility and appreciation in a world where survival could be precarious, and awareness that death is a part of life. So they often appeared in traditional imagery such as the taijitu or yin-yang symbol, with Old Man Entropy balanced against one of the Eight Immortals or Wabiko and Sabiko facing each other. This helped shape the aesthetics of the cultures, each in its own way.
The meaning of Wabi, the noun form of the verb “wabu,” is better understood from its adjective form “Wabishii” (wretched); that is, it means “an inferior state as opposed to splendor.” In other words, it means a “humble like state” or a “simple look” nowadays. In the extreme, it may mean a “poor look” or “poverty.” Originally it was not a good concept. However, through the influence of the Zen sect, it became to be regarded favorably and to be taken as having a form of beauty.
“Wabi” really means “poverty,” or, negatively,” not to be in the fashionable society.” To be poor, that is, not to be dependent on worldly things ―wealth, power, and reputation― and yet to feel inwardly the presence of something of the highest value, above time and social position: this is what essentially constitutes Wabi.
Wabi now connotes rustic simplicity, freshness or quietness, and can be applied to both natural and human-made objects, or understated elegance.
Sabi
Sabi is the noun form of the verb “sabu,” and originally means the state of deterioration over the passage of time (secular distortion). Now, it means “a quiet and tranquil condition.” Originally it was not a favorable concept; however, in “Tsurezuregusa” (Essays in Idleness), there was a description of Sabi, meaning to deeply appreciate an antique book, and it has been verified that, around this time, the meaning of discovering the beauty of an antiquated state arose. During the Muromachi period, Sabi became treasured as important, especially in the world of haikai (seventeen-syllable verse), and was incorporated into the Nou music, and was systematized into theory. In haiku, since Matsuo Bashō, it has become the central sense of beauty; however, seldom did MATSUO himself talk or write directly about the elegant simplicity of Sabi. The elegant simplicity of Sabi in haikai is a common characteristic, especially among old things and elderly persons, it emanates from the inside of something old, and is an internal beauty.
The term wabi-sabi is composed of two kanji characters. The second part, sabi (寂) is said to date back to the eighth century when it was used to designate desolation. Over time, the term evolved and referred more precisely to the delightful contemplation of what is old and worn and the beauty of faded or withered things. Sabi could also translate to “old and elegant” or “rusty”, with an untranslatable impression of peacefulness that can apply to the human condition, physical beauty, or an appreciation for art.
The Japanese term wabi (侘), meaning less is more, denoting simplicity and minimalism, came along much later than sabi, not appearing until the fifteenth century to designate a new aesthetic still closely related to the tea ceremony, but referring to the general atmosphere and to the objects used during this formal service. The definition of wabi can be traced back to loneliness or melancholy, to the appreciation of a serene life, far from the urban hustle and bustle.
[---8<---]
Kintsugi is one demonstration of the Japanese concept of honoring and preserving the perfectly imperfect. Filling cracks with gold represents finding true meaning in times of despair and loss and creating something different, and possibly even better than the original.
7 JAPANESE AESTHETIC PRINCIPLES: WABI SABI ON JEWELRY
Fukinsei
It is the aesthetic principle of irregularity or asymmetry that suggests balance and equilibrium in compositions as a whole. For example, in painting, the enso or "Zen circle" is drawn in an incomplete form to represent imperfection as a part of life, and in design, the balance is both asymmetric and dynamic.
Zen's aesthetics have allowed the internalization and spiritualization of nature itself, which is composed of balanced beauty relationships in the midst of
asymmetry. Fukinsei is irregularity, imbalance, inequality, and odd counts, as a response that denies perfection. Nature is not perfect or symmetrical.
[---8<---]
Kanso
It refers to the Japanese aesthetic principle of simplicity and zero excess. Within Wabi-sabi, everything is expressed in a simple, natural, and unembellished manner, without adding terms that adorn or distort reality. This clarity is achieved by excluding the non-essential.
Kanso is simplicity and the elimination of all that is excessive. It is focusing on what truly matters and setting aside anything that may bring confusion and sadness. The Wabi-sabi aesthetic is centered on avoiding complications. It can be defined as a preference for simplicity, especially in designs. The popular philosophy of "less is more" encapsulates what Kanso embodies.
[---8<---]
Koko
Koko represents the essence of natural beauty that has not been altered. It highlights organic materials, imperfections in forms, and textures that evoke the fleeting and raw nature of life. This principle celebrates all that is unique and authentic, valuing the importance of living in harmony with the natural world and our surroundings, embracing simplicity and celebrating imperfections.
To the aesthetic in Japan, Koko is reflected in various artistic expressions such as ceramics, gardening, and writing. In ceramics, the beauty of cracks that are not repaired or hidden is appreciated, recognizing them as unique and authentic.
[---8<---]
Yūgen
Yugen is a spiritual and philosophical concept of Japanese aesthetics that is often difficult to explain in words. It relates to transcendent beauty and elements that surpass traditional understanding and carry a touch of mystery.
The Yūgen meaning is about contemplating everything that happens between the known and unknown world with a great capacity for wonder.
This fundamental principle explains that life would be very dull if everything were known, and that every opportunity to contemplate things brings with it the experience of discovering new or hidden ideas. It is the feeling of subtle and mysterious beauty that lies beneath what is superficially visible and is waiting to be discovered.
[---8<---]
Datsuzoku
Datsuzoku is related to creativity and individuality that does not adhere to or conform to imposed social expectations. It is an aesthetic principle that encourages people to break free from traditional conventions to live in the environment without prejudices, and is related to independence and impulsiveness.
In Japanese aesthetics, Datsuzoku stands out as a way to escape the limitations imposed by society and live a freer and authentic life. This is reflected in culture, from design, such as houses, to the smallest details like a floral arrangement. Under this principle, the aim is to reject conformity in all aspects of life.
[---8<---]
Seijaku
It refers to serenity, tranquility, and stillness. Seijaku is about finding that sense of calm amid the turbulence of life and is a fundamental principle for the Japanese, reflected in traditional situations and practices like meditation and the tea ceremony.
This specific aspect emphasizes the importance of finding peace and balance amidst everyday chaos. It is not only about a physical state but, like Wabi-sabi in general, it works on mentality and spirituality because finding peace outside requires being at peace with oneself.
In traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete". It is a concept derived from the Buddhist teaching of the three marks of existence (三法印, sanbōin), specifically impermanence (無常, mujō), suffering (苦, ku) and emptiness or absence of self-nature (空, kū).
Mu -- nothing, non-
Mu once had its meaning in the pictograph for destroying a forest. But its early writing also showed what was possibly a priest giving some sacred dancing and holy rites for a fallen person. Death representing the nothingness. The emptiness and space, rather than the absence of something is a metaphor for what the open and unobstructed mind of munen and mushin represent.
Nen 念 is a word meaning thought in the vein of a desire or a thirst for something. We can get a very Buddhist construct when we put mu and nen together. Munen deals with the idea of having no sensual desire or worldly thoughts. No desire to be nor a wish not to be. No desire to satiate our many thirsts of the eye, nose, mouth, skin, etc. Munen is an ultimate state of mind where one is not being pulled in the directions lead by our desires. Munen muso becomes a phrase meaning no desire and no thought. The mind is in a quite advanced enlightened stage with munen. This type of stage is something cultivated over longer periods of time. It is quite different from mushin. It might be helpful to consider munen as the larger aspect of 'no-thought'.
The phrase, no-mind or no-thought is attributed to the samurai warriors and Buddhist monks of Japan. Munen-muso is not exactly a battle friendly state of mind. A mind imbued with munen is unrestricted by the fetters of ignorance, anger, fear, belief in the self, desire for existence and non-existence, and sense desires, to name some.
Shin 心 means mind or spirit. Our mental faculties are represented by shin. Through meditation and contemplation, we can cultivate certain states of mind that lead to mushin no shin. The state of no-mind is the mind free from calculating and clinging. This is the functioning state of mind that leads to munen. It is mushin that is useful to the warrior directly involved in combat or the martial artist. It is a neurologically opened state where there is no scheming or planning. Some of us have experienced this when we knock something off the table and without thinking we catch it. The state of mushin is a very natural part of our lives. It is not a mystical or unattainable state of mind. If you have ever "lost yourself" in playing a musical instrument or singing, or chanting then you have achieved the mushin. If you have ever experienced that open flowing moment while playing baseball, jogging, or even mowing the lawn, then you have achieved mushin.
Mushin is different from munen. You can be a person full of greed and anger for example but still attain mushin. Mushin is a temporary state. Munen is a state of mind that undergoes a permanent transformation. When someone rids themselves of greed, they have understood its origins, and its how it arises. When it is understood and triumphed greed does not return. Mushin can be achieved by anyone, however, munen requires a lot of work and many years of practice. Munen is the ultimate goal.
Fudōshin (Japanese: 不動心) is a state of equanimity or imperturbability (literally and metaphorically, "immovable mind",[1] "immovable heart"[2] or "unmoving heart"). It is a philosophical or mental dimension to Japanese martial arts which contributes to the effectiveness of the advanced practitioner.
Munen Muso—“no thoughts, no mental images”
"Tenshin" means heaven or universal truth in Japanese. It also means, the shape of your adorned true self, and the perfect freedom.
Heijoshin—“peaceful, stable, everyday mind”
whatever mind you have (mu, hei, whaddever) it is your everyday mind . . . drop the goals and get on with practice.
Examples of Zen in Bushido
The concept of "muga" or "no-self" is a central tenet of Zen Buddhism and is reflected in the Bushido code. The samurai believed that they should act without ego or personal desire and that they should be completely selfless in their actions.
Ma means blank/silent intervals planted in between elements.
Hanami: cherry blossom viewing
Tsukimi: moon-viewing parties
scrubjayspeaks. It also fills the "Wisdom" square in my 3-1-25 card for the Tolkien Bingo Fest. This collection has been sponsored by Anthony Barrette."The Daughters of Entropy"
life is always full
of challenges, surprises,
and moments of joy
* * *
Old Man Entropy
is everywhere, making things
wind down and decay
* * *
his younger daughter
Poor Little Girl delights in
the humble beauties
* * *
his older daughter
Beautiful Broken Girl loves
all that's old and worn
* * *
they are the spirits
of flaws that make everything
in life worthwhile
* * *
the garden sculpture
is imperfect -- fukinsei,
so too is nature
* * *
the pain of loss must
come to everyone, even
the flowers: seeds fall
* * *
no plants left for sale --
kanso, eliminate all
that is excessive
* * *
a beautiful day
clouds flying and birds singing
and then, a sunburn!
* * *
a broken flagstone --
koko, the beauty of cracks
unrepaired, unique
* * *
a gardener steps
upon the tines of a rake:
test of alertness!
* * *
the plant died, but why
did it die? yūgen, some things
aren't meant to be known
* * *
the tourists have no
common sense: to them it is
just a spectacle
* * *
the store is out of
butter, eggs, milk, everything ...
be content, make do
* * *
a torn shirt, laughter --
datsuzoku, be honest
and not popular
* * *
peacock trees open
in the dazzle of sunrise:
now you're seeing spots
* * *
calm beach, still water,
everything is so peaceful --
then sand fleas, yi yi!
* * *
late frost kills gardens,
but seijaku, stillness makes
everything tranquil
* * *
the tiny details
of misery -- a wet shirt,
an itch -- so human
* * *
the antique desk cracks:
mujō, nothing in this life
can last forever
* * *
even the stars die,
but without novas, there would
be no nebulae
* * *
oh, what a headache!
ku, ku, to be suffering
is to be alive
* * *
waiting and waiting
for mail from another world:
alas, it is lost
* * *
the forest is burnt --
munen, munen, plant new seeds
without desire
* * *
rusted space shuttle
will never fly but it makes
a great garden shed
* * *
crash of broken vase --
mushin! don't overthink it,
just go clean it up
* * *
it is no great doom
but the petty bad days that
can crush the spirit
* * *
wind blows leaves over
fresh-raked yard: fudōshin, the
immovable mind
* * *
so the pot you made
is ugly -- so what? muso:
bear no illusions
* * *
the hurricanes rage
around the world: disaster's
an understatement
* * *
overgrown garden --
tenshin, universal mind
and perfect freedom
* * *
the wind grabs your page
and runs away down the street
laughing at your loss
* * *
the world is chaos,
but heijoshin: make your mind
normally ordered
* * *
to be alive is
to suffer loss, but also
to know compassion
* * *
meditation fails --
whatever mind you have is
your everyday mind
* * *
even after men
conquered space, the rain gets through
the roof: drip, drip, drip
* * *
everything is wrong --
muga: where there is no self,
no blame and no shame
* * *
wind and water carve
rocks over years, but a man
can't wait five minutes
* * *
drop the puzzle box,
watch the contents scatter, then
pick up the pieces
* * *
one bell missing from
a battered old wind chime: ma,
silent interval
* * *
a planet in space
the loneliness of it all
drifting in the dark
* * *
hanami: watching
the cherry blossoms, and pests
that ruin cherries
* * *
the water still runs
but the old bamboo fountain
has a crack in it
* * *
a stone in your shoe
feels like a mountain peak as
you step over it
* * *
tsukimi, but the
moon does not deign to be viewed
ah, disappointment
* * *
as a watch winds down,
entropy eats everything
at the end of time
* * *
Old Man Entropy
stops order from engulfing
everything out there
* * *
the Daughters of Entropy
turn everyday wear and tear
into works of art
* * *
when you are weeping,
the tender touch of the rain
wipes away your tears
* * *
wisdom is knowing
that you are not at fault for
all the world's evils
* * *
even the worst day
is still a day that you are
alive to suffer
* * *
the gods made rainbows
to show us that broken things
are still beautiful
* * *
Notes:
In my main science fiction setting, three colonies settled relatively close together. Common Ground valued common sense and practicality above all else. Picture This! The REAL Artists Colony appreciated beauty in all things. The solar system of Rainbow's End was settled by the queer community on two inhabited planets, and included a fair number of Asians also. Sodom was smaller and drier, settled primarily by gay men and kinksters; Gomorrah was larger and wetter, settled primarily by lesbians and sailors. Each had its own challenges.
One thing the Asian colonists contributed was the idea of guardian spirits rising from nature or family ancestors, beings of enlightenment who could inspire the living to better lives. So they began to speak of O-suisei-san, Wabiko and Sabiko: Old Man Entropy and his two daughters, Poor Little Girl and Beautiful Broken Girl. They taught humility and appreciation in a world where survival could be precarious, and awareness that death is a part of life. So they often appeared in traditional imagery such as the taijitu or yin-yang symbol, with Old Man Entropy balanced against one of the Eight Immortals or Wabiko and Sabiko facing each other. This helped shape the aesthetics of the cultures, each in its own way.
The meaning of Wabi, the noun form of the verb “wabu,” is better understood from its adjective form “Wabishii” (wretched); that is, it means “an inferior state as opposed to splendor.” In other words, it means a “humble like state” or a “simple look” nowadays. In the extreme, it may mean a “poor look” or “poverty.” Originally it was not a good concept. However, through the influence of the Zen sect, it became to be regarded favorably and to be taken as having a form of beauty.
“Wabi” really means “poverty,” or, negatively,” not to be in the fashionable society.” To be poor, that is, not to be dependent on worldly things ―wealth, power, and reputation― and yet to feel inwardly the presence of something of the highest value, above time and social position: this is what essentially constitutes Wabi.
Wabi now connotes rustic simplicity, freshness or quietness, and can be applied to both natural and human-made objects, or understated elegance.
Sabi
Sabi is the noun form of the verb “sabu,” and originally means the state of deterioration over the passage of time (secular distortion). Now, it means “a quiet and tranquil condition.” Originally it was not a favorable concept; however, in “Tsurezuregusa” (Essays in Idleness), there was a description of Sabi, meaning to deeply appreciate an antique book, and it has been verified that, around this time, the meaning of discovering the beauty of an antiquated state arose. During the Muromachi period, Sabi became treasured as important, especially in the world of haikai (seventeen-syllable verse), and was incorporated into the Nou music, and was systematized into theory. In haiku, since Matsuo Bashō, it has become the central sense of beauty; however, seldom did MATSUO himself talk or write directly about the elegant simplicity of Sabi. The elegant simplicity of Sabi in haikai is a common characteristic, especially among old things and elderly persons, it emanates from the inside of something old, and is an internal beauty.
The term wabi-sabi is composed of two kanji characters. The second part, sabi (寂) is said to date back to the eighth century when it was used to designate desolation. Over time, the term evolved and referred more precisely to the delightful contemplation of what is old and worn and the beauty of faded or withered things. Sabi could also translate to “old and elegant” or “rusty”, with an untranslatable impression of peacefulness that can apply to the human condition, physical beauty, or an appreciation for art.
The Japanese term wabi (侘), meaning less is more, denoting simplicity and minimalism, came along much later than sabi, not appearing until the fifteenth century to designate a new aesthetic still closely related to the tea ceremony, but referring to the general atmosphere and to the objects used during this formal service. The definition of wabi can be traced back to loneliness or melancholy, to the appreciation of a serene life, far from the urban hustle and bustle.
[---8<---]
Kintsugi is one demonstration of the Japanese concept of honoring and preserving the perfectly imperfect. Filling cracks with gold represents finding true meaning in times of despair and loss and creating something different, and possibly even better than the original.
7 JAPANESE AESTHETIC PRINCIPLES: WABI SABI ON JEWELRY
Fukinsei
It is the aesthetic principle of irregularity or asymmetry that suggests balance and equilibrium in compositions as a whole. For example, in painting, the enso or "Zen circle" is drawn in an incomplete form to represent imperfection as a part of life, and in design, the balance is both asymmetric and dynamic.
Zen's aesthetics have allowed the internalization and spiritualization of nature itself, which is composed of balanced beauty relationships in the midst of
asymmetry. Fukinsei is irregularity, imbalance, inequality, and odd counts, as a response that denies perfection. Nature is not perfect or symmetrical.
[---8<---]
Kanso
It refers to the Japanese aesthetic principle of simplicity and zero excess. Within Wabi-sabi, everything is expressed in a simple, natural, and unembellished manner, without adding terms that adorn or distort reality. This clarity is achieved by excluding the non-essential.
Kanso is simplicity and the elimination of all that is excessive. It is focusing on what truly matters and setting aside anything that may bring confusion and sadness. The Wabi-sabi aesthetic is centered on avoiding complications. It can be defined as a preference for simplicity, especially in designs. The popular philosophy of "less is more" encapsulates what Kanso embodies.
[---8<---]
Koko
Koko represents the essence of natural beauty that has not been altered. It highlights organic materials, imperfections in forms, and textures that evoke the fleeting and raw nature of life. This principle celebrates all that is unique and authentic, valuing the importance of living in harmony with the natural world and our surroundings, embracing simplicity and celebrating imperfections.
To the aesthetic in Japan, Koko is reflected in various artistic expressions such as ceramics, gardening, and writing. In ceramics, the beauty of cracks that are not repaired or hidden is appreciated, recognizing them as unique and authentic.
[---8<---]
Yūgen
Yugen is a spiritual and philosophical concept of Japanese aesthetics that is often difficult to explain in words. It relates to transcendent beauty and elements that surpass traditional understanding and carry a touch of mystery.
The Yūgen meaning is about contemplating everything that happens between the known and unknown world with a great capacity for wonder.
This fundamental principle explains that life would be very dull if everything were known, and that every opportunity to contemplate things brings with it the experience of discovering new or hidden ideas. It is the feeling of subtle and mysterious beauty that lies beneath what is superficially visible and is waiting to be discovered.
[---8<---]
Datsuzoku
Datsuzoku is related to creativity and individuality that does not adhere to or conform to imposed social expectations. It is an aesthetic principle that encourages people to break free from traditional conventions to live in the environment without prejudices, and is related to independence and impulsiveness.
In Japanese aesthetics, Datsuzoku stands out as a way to escape the limitations imposed by society and live a freer and authentic life. This is reflected in culture, from design, such as houses, to the smallest details like a floral arrangement. Under this principle, the aim is to reject conformity in all aspects of life.
[---8<---]
Seijaku
It refers to serenity, tranquility, and stillness. Seijaku is about finding that sense of calm amid the turbulence of life and is a fundamental principle for the Japanese, reflected in traditional situations and practices like meditation and the tea ceremony.
This specific aspect emphasizes the importance of finding peace and balance amidst everyday chaos. It is not only about a physical state but, like Wabi-sabi in general, it works on mentality and spirituality because finding peace outside requires being at peace with oneself.
In traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete". It is a concept derived from the Buddhist teaching of the three marks of existence (三法印, sanbōin), specifically impermanence (無常, mujō), suffering (苦, ku) and emptiness or absence of self-nature (空, kū).
Mu -- nothing, non-
Mu once had its meaning in the pictograph for destroying a forest. But its early writing also showed what was possibly a priest giving some sacred dancing and holy rites for a fallen person. Death representing the nothingness. The emptiness and space, rather than the absence of something is a metaphor for what the open and unobstructed mind of munen and mushin represent.
Nen 念 is a word meaning thought in the vein of a desire or a thirst for something. We can get a very Buddhist construct when we put mu and nen together. Munen deals with the idea of having no sensual desire or worldly thoughts. No desire to be nor a wish not to be. No desire to satiate our many thirsts of the eye, nose, mouth, skin, etc. Munen is an ultimate state of mind where one is not being pulled in the directions lead by our desires. Munen muso becomes a phrase meaning no desire and no thought. The mind is in a quite advanced enlightened stage with munen. This type of stage is something cultivated over longer periods of time. It is quite different from mushin. It might be helpful to consider munen as the larger aspect of 'no-thought'.
The phrase, no-mind or no-thought is attributed to the samurai warriors and Buddhist monks of Japan. Munen-muso is not exactly a battle friendly state of mind. A mind imbued with munen is unrestricted by the fetters of ignorance, anger, fear, belief in the self, desire for existence and non-existence, and sense desires, to name some.
Shin 心 means mind or spirit. Our mental faculties are represented by shin. Through meditation and contemplation, we can cultivate certain states of mind that lead to mushin no shin. The state of no-mind is the mind free from calculating and clinging. This is the functioning state of mind that leads to munen. It is mushin that is useful to the warrior directly involved in combat or the martial artist. It is a neurologically opened state where there is no scheming or planning. Some of us have experienced this when we knock something off the table and without thinking we catch it. The state of mushin is a very natural part of our lives. It is not a mystical or unattainable state of mind. If you have ever "lost yourself" in playing a musical instrument or singing, or chanting then you have achieved the mushin. If you have ever experienced that open flowing moment while playing baseball, jogging, or even mowing the lawn, then you have achieved mushin.
Mushin is different from munen. You can be a person full of greed and anger for example but still attain mushin. Mushin is a temporary state. Munen is a state of mind that undergoes a permanent transformation. When someone rids themselves of greed, they have understood its origins, and its how it arises. When it is understood and triumphed greed does not return. Mushin can be achieved by anyone, however, munen requires a lot of work and many years of practice. Munen is the ultimate goal.
Fudōshin (Japanese: 不動心) is a state of equanimity or imperturbability (literally and metaphorically, "immovable mind",[1] "immovable heart"[2] or "unmoving heart"). It is a philosophical or mental dimension to Japanese martial arts which contributes to the effectiveness of the advanced practitioner.
Munen Muso—“no thoughts, no mental images”
"Tenshin" means heaven or universal truth in Japanese. It also means, the shape of your adorned true self, and the perfect freedom.
Heijoshin—“peaceful, stable, everyday mind”
whatever mind you have (mu, hei, whaddever) it is your everyday mind . . . drop the goals and get on with practice.
Examples of Zen in Bushido
The concept of "muga" or "no-self" is a central tenet of Zen Buddhism and is reflected in the Bushido code. The samurai believed that they should act without ego or personal desire and that they should be completely selfless in their actions.
Ma means blank/silent intervals planted in between elements.
Hanami: cherry blossom viewing
Tsukimi: moon-viewing parties