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*''Aware'' (哀れ) - pathos, something which is emotionally "moving." See also ''[[mono no aware]]''. Associated especially with the [[Tale of Genji]].
*''Aware'' (哀れ) - pathos, something which is emotionally "moving." See also ''[[mono no aware]]''. Associated especially with the [[Tale of Genji]].
*''Basara'' (婆娑羅) - early in the [[Muromachi period]], a term referring to the extravagant and excessive behavior and tastes of the newly wealthy (''nariagari''); by the time of [[Ashikaga Yoshimitsu]], however, the term came to refer to a somewhat more tempered aesthetic, incorporating both Yoshimitsu's showy style (as epitomized in the [[Kinkaku-ji]]) and a love of exotic objects (especially ''[[karamono]]'').<ref>H. Paul Varley, "Ashikaga Yoshimitsu and the World of Kitayama: Social Change and Shogunal Patronage in Early Muromachi Japan", in John Hall and Toyoda Takeshi eds., ''Japan in the Muromachi Age'', University of California Press (1977), 202.</ref>
*''En'' (艶) - "charming," or visually beautiful. Associated especially with the [[Tale of Genji]].
*''En'' (艶) - "charming," or visually beautiful. Associated especially with the [[Tale of Genji]].
*''Fûryû'' (風流) - used frequently in the titles of ''[[ukiyo-e]]'' works, especially ''[[mitate-e]]'' (clever reworkings of famous scenes), where it is often used somewhat interchangeably with terms such as ''yatsushi'' ("reworking") and ''fûzoku'' (風俗, "customs" or "popular/folk culture"). [[Tim Clark]] suggests the translation of "elegant" for ''fûryû'', which might more literally be translated as "stylish" or "in the style," marking the way a classic theme, characters, or scene is depicted in a ''mitate-e'' work in a contemporary, fashionable, up-to-date way (e.g. by portraying characters from the [[Tale of Genji]] in the most up-to-date current fashions).<ref>[[Tim Clark]], "''Mitate-e'': Some Thoughts, and a Summary of Recent Writings," ''Impressions'' 19 (1997), 6-27.</ref> The term ''fûryû'' is also used in ''[[furyu Noh|fûryû nô]]'', a form of [[Noh]] theatre which emerged in the late 15th to early 16th century, featuring more elaborate, complex, and lively plots than earlier Noh plays had.<ref>Beng Choo Lim, "Performing Furyû Nô: The Theatre of Konparu Zenpô," ''Asian Theatre Journal'' 22:1 (2005), 33-51.</ref>
*''Ga'' (雅) - see ''Miyabi'' below.
*''Ga'' (雅) - see ''Miyabi'' below.
*''Wabi'' (侘) - an aesthetic of finding appeal in rustic simplicity, extending into the attraction of imperfections or imbalances
*''Wabi'' (侘) - an aesthetic of finding appeal in rustic simplicity, extending into the attraction of imperfections or imbalances
*''[[Yugen|Yûgen]]'' (幽玄) - an aesthetic of mysteriousness, associated especially with the [[Noh]] theatre.
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==References==
==References==
*“The Vocabulary of Japanese Aesthetics I,” in William Theodore de Bary et al eds. ''Sources of Japanese Tradition'' 2nd ed. (New York: Columbia U. Press, 2001), pp. 197-204.
*“The Vocabulary of Japanese Aesthetics I,” in William Theodore de Bary et al eds. ''Sources of Japanese Tradition'' 2nd ed. (New York: Columbia U. Press, 2001), pp. 197-204.
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[[Category:Terminology]]
[[Category:Terminology]]
[[Category:Heian Period]]
[[Category:Heian Period]]
[[Category:Edo Period]]
[[Category:Edo Period]]
