Contents
Introduction
Unique Aesthetics
Sābisu (Japlish coming from “service”) and Omotenashi
Omotenashi in the Tea Ceremony
The spirit of ‘Do’ (the Way to Mastery) based on Taoism.
Master and Disciple Relationship in Japan: ‘Shu-Ha-Ri’
'Wabi' and 'Sabi'
'Mono-no-aware' Sense of Impermanence
Japanese Spiritualism Found in the Townspeople in Edo
The traditional image of the Japanese found in the spirit of Edo townspeople
'Iki,' the Spirit of the Edo People
'Giri-Ninjo,' Human Relationships in Edo
'Tu,' Appreciation of Differences
Poor but Proud in Spirit of Edo Townspeople
Some Specific Features Shown in the Japanese Language
Variety of Expressions
Words Expressing the Human Relationships
Introduction
Foreign visitors are impressed and surprised by many aspects of Japanese culture. It is not until we see their reactions that we come to realize we have taken these cultural aspects for granted. These are the aspects they say they are surprised at:
-It is safe. (I have had my lost items returned!)
-The streets are clean. Although there are no garbage bins, there is no litter.
-Vending machines and convenience stores are everywhere.
-Japanese people value cleanliness and tidiness; even public restrooms are well-maintained.
-Japanese people treat visitors and customers with great care and politeness despite the absence of a tipping system.
-Trains and buses are punctual. (If a train arrives even slightly late, an apology is made via announcement!)
-In Japan, individuals patiently queue without complaint at busy locations such as restaurants or event venues.
So, when did these aspects that the Japanese take for granted become established? The Swedish doctor Carl Peter Thunberg, who traveled around the world on a Dutch boat in 1775, described the national character of the Japanese in his travel memoir. He observed that they were obedient, polite, diligent, smart, and considerate. He observed that they were full of curiosity, free-spirited, honest, and sincere. They thought highly of friendship and never forgave bad deeds. He observed that they were neat and thrifty, generous, and equality-conscious. These were the impressions that a foreign visitor had about Japan roughly 250 years ago. Aren’t most of these traits still true in today’s Japan? These characteristics admired by foreigners are expressed by terms such as “Wabi-Sabi,” “Omotenashi,” “Iki,” and “Giri-Nijo,” but these have no proper equivalent words in English. And it is impossible to understand them without knowing Japanese history or cultural background. The next chapter is about these Japanese terms and the Japanese language itself.


Unique Aesthetics
Sābisu (Japlish coming from “service”) and Omotenashi
At the international conference of Olympic members in 2020, where Japan was selected as the next host country, a Japanese representative gave a speech aiming for Japan to be chosen as the host, using the word “Omotenashi”—the unique Japanese mannerisms in treating guests. In Japan, both ‘Sābisu’ (service) and ‘Omotenashi’ are terms used to mean ‘treating guests well.’ Though similar, they convey different nuances. The origin of the word ‘service’ is the Latin word ‘Servitus,’ meaning ‘slave.’ Naturally, the word ‘service’ implies the relationship of ‘the given’ and ‘the giver,’ like that of master and slave. The one providing ‘service’ is expected to perform the required act for the guest and receive the proper price in return.
On the other hand, the word ‘Omotenashi’ comes from the verb ‘Motenasu’ (treat), prefixed with ‘O’ for politeness. It can also mean ‘no front.’ ‘No front’ implies there is no hidden side or ‘back,’ which symbolizes honesty. Therefore, Omotenashi signifies committing acts honestly with care and concern without expecting anything in return. This attitude developed from the manners of hosts serving guests in tea ceremonies originating during the Muromachi period.
In conclusion, service refers to the material act that requires profit and return, while Omotenashi is the spirituality to behave without wanting any returns. Service is given equally to all guests, but Omotenashi changes for each guest, considering their situation and feelings.
Omotenashi in the Tea Ceremony
The hospitality in the tea ceremony begins with careful preparation. Under the main principle of ‘Ichigoichie,’ which teaches that one should treat each event as if it happens only once in a lifetime, the host gives great consideration to the preparation for everything from the flowers and incense placed in the room to hanging scrolls, vessels, tea tools, and Japanese sweets. To ensure polite conduct during the ceremony, the host practices serving tea beforehand, ensuring guests are welcomed with perfect preparation. All participants must follow the mannerisms of the tea ceremony: where they should sit, how hot tea should be served, how the host serves tea, and the phrase by which the guests express gratitude (‘Otemae choudai itashimasu,’ meaning ‘Thank you for preparing tea’). When drinking, one should turn the cup twice clockwise in their left palm to avoid contact between their mouth and the cup’s pattern, then finish by taking three or four gulps. On taking the last gulp, one emits a sound to signify that they have finished drinking, followed by sweeping over the area touched by their lips with a forefinger. These are the mannerisms expected of both the host and the guests. It reflects a Japanese cultural practice known as ‘Syukyakuittai’ (unity of host and guests). Hosts and guests mutually enhance their understanding to ensure the shared space is excellently refined.

Although English has the word ‘hospitality,’ it does not capture the unique Japanese concept of ‘Omotenashi.’ Sen-no-Rikyu, who perfected ‘Wabi-cha’ (the art of simple tea ceremony), imparted his teachings known as ‘Rikyu’s Seven Rules’ to his disciples. The words of these rules sound common but express the essence of ‘Omotenashi.’
1 Consider the guest when making tea to ensure it suits them.
2 Place the charcoal so that water boils efficiently.
3 Keep the room cool in summer and warm in winter.
4 Arrange flowers as they appear in nature.
5 Be mindful of time and act at appropriate moments.
6 Prepare an umbrella even on clear days.
7 Treat guests with utmost care.

The spirit of ‘Do’ (the Way to Mastery) based on Taoism.
This ‘Do’ is pronounced like ‘doe.’ The Kanji character for ‘Do’ is ‘道,’ which also means ‘road.’ Besides Sado (tea ceremony), there are many arts and sports whose names end with ‘Do,’ such as ‘Shodo’ (calligraphy), ‘Kado’ (flower arrangement), ‘Judo,’ and ‘Kendo’ (swordsmanship). The word ‘Do’ comes from Taoism, taught by Lao Tzu in ancient China, meaning ‘the true nature of things, the world, or of people,’ or ‘the way of living that pursues the true nature.’ This philosophy came to Japan, bringing forth many words ending with ‘Do.’

‘Do,’ in this sense, represents the pursuit of learning and skills. In ‘Budo’ (martial arts), factors such as ‘politeness,’ ‘attitude,’ and ‘self-discipline’ can be more important than results. The Western concept of ‘skill’ places greater emphasis on skill level and game outcomes. Japanese ‘Do’ values the process of improvement and mastery rather than winning or losing outcomes. Therefore, Japanese educational systems often focus on teaching aspects unrelated to winning or losing, the acquisition of skills, or achieving high exam grades, such as cleaning up or using tools carefully. These lessons may seem unique to Western people who live in a world of consequentialism and performance-based pay systems.
In contrast to perfectionism in Western culture, Taoism suggests that perfection implies stagnation or an end because it allows for no improvement or development. Perfection carries a negative connotation within Taoist teachings. As discussed in the previous chapter regarding Japanese manga and anime, readers enjoy the growing process of main characters. This enjoyment implies the influence of “Do.” Additionally, in the unique culture of affection towards “Aidoru” (a term for cute young entertainers), fans like to support their Aidoru and observe them grow to be top stars. This aspect may also reflect ‘Do.’ It is true that many Japanese people today pursue perfection, but it seems that those eager to achieve it lose the true purpose or nature of things and fail to experience the joy of change and growth. They should remember the traditional, though contradictory, Japanese aesthetics of “‘Imperfection’ can also mean ‘perfection.’”

Master and Disciple Relationship in Japan: ‘Shu-Ha-Ri’
In fields such as Sado (tea ceremony), Budo (martial arts), art, and craftsmanship, disciples undergo the three stages of ‘Shu-Ha-Ri’ while learning from masters. In Shu ‘守’ (keep), they must perfectly follow the basic manners and styles as taught by their master. In Ha ‘破’ (break), they begin to adapt or refine their master’s teachings, aiming to develop their own style. In Ri ‘離’ (depart), they progress to become independent of the master, achieve their original style, and become full-fledged experts. For example, in the training period of sushi cooks, there is a phrase, “three years for cooking rice, eight years for hand-rolling sushi.” Today, ‘Shu-Ha-Ri’ still remains in the world of Japanese craftsmanship.

‘Wabi’ and ‘Sabi’
The teachings of the Japanese tea ceremony, Sado, have cultivated the aesthetic concepts of ‘Wabi’ and ‘Sabi.’ The concept of ‘Wabi’ and ‘Sabi’ was established by the tea ceremony master Sen no Rikyū, and can be roughly interpreted as finding beauty and satisfaction in simplicity or absence. ‘Wabi’ refers to finding beauty within simplicity, appreciating what is available despite something lacking. ‘Sabi’ embodies the beauty that emerges over time, suggesting that things become more attractive as they age. In contrast to other cultures that value opulence and newness, ‘Wabi’ and ‘Sabi,’ which emphasize ‘incompleteness’ or ‘age,’ may seem negative. However, the concept of ‘Imperfect is beautiful’ is widely embraced in Japan. The art of ‘Kintsugi’ (joining together with gold) most distinctively showcases ‘Wabi’ and ‘Sabi.’ ‘Kintsugi’ involves mending broken pottery with lacquer mixed with gold or silver powder. This repair technique transforms a broken item (with negative connotations) into something beautiful (with positive connotations) by embellishing it with gold and silver. It enhances the item’s aesthetic and prolongs its life. Isn’t this the essence of sustainability?


‘Mono-no-aware’ Sense of Impermanence
The four seasons of Japan are very distinctive. In spring, we enjoy viewing cherry blossoms in full bloom, and in autumn, we go out to appreciate the red or yellow colors of the leaves. As discussed in the previous chapter on Samurai spirit, Japanese people feel the beauty not only in the elegance of blooming but also in the fleetingness or impermanence of falling and withering soon after it.
‘Mujokan’ (sense of impermanence) comes from one of the Buddhist teachings, ‘Shogyo Mujo.’ This means “Everything is in a state of flux, and nothing is unchangeable.” In the Heian period, people experienced emotions such as sentimentality and sadness towards the law of nature as “Everything is ephemeral and changeable” and the life of humans which ends no matter what happens, and these feelings are encapsulated by the concept of ‘Mono no aware.’ Chinese culture highly values grandeur and appearance, and Western cultures value perfection and order. In contrast to these cultures, the Japanese sense of impermanence is unique.

There are a lot of works of art representing the sense of impermanence. One of them is “Iroha-uta.” Iroha-uta is a Japanese poem whose lyrics are composed of all 47 Hiragana characters, each used only once, and it is well-known as a song that helps children learn these characters. Some say it was created by the great Buddhist master Kukai to represent Buddhism’s sense of impermanence. Each of the four stanzas expresses the four teachings given by Buddha, the founder of Buddhism, just before passing away: “Everything always changes.” “Everything repeats death and life.” “Something exists beyond this repetition.” “It is supreme nirvana.” Despite being intended for children, this poem is very philosophical.


Another example is “The Tale of the Heike.” The famous opening expresses the sense of impermanence and is translated as follows: “The bell of Gion Monastery echoes with the tone of impermanence. The color of the blossoms of the Sal tree represents the law that the prosperous always fall.”
祇園精舎の鐘の声、諸行無常の響あり。 娑羅双樹の花の色、盛者必衰の理をあらはす。 |
Matsuo Bashō, a haiku master during the middle Edo period, visited Hiraizumi in Iwate, which had flourished during the late Heian period after a hundred years of prosperity. There, he wrote two famous haiku poems representing the sense of impermanence:
―Natsu kusa ya / Tsuwamono domo ga / Yume no ato
Summer grasses / All that remains / Of warriors’ dreams
―Samidare no / Furinokoshite ya / Hikari dō
After the early summer rain / Still shining / The Golden Hall

Our sense of impermanence is reflected in works of art and even in manufactured products.
Japanese Spiritualism Found in the Townspeople in Edo
The traditional image of the Japanese found in the spirit of Edo townspeople
It is said that the types of men popular among women reflect the social conditions of their times. At the peak of what was called the ‘Bubble Period,’ men with the ‘3 Highs’—high earnings, high academic achievements, and tall stature—were most desired by women. However, in the 2010s, when the world was in a financial crisis caused by Lehman Brothers’ collapse, men with the ‘4 Lows’—low/modest presence, low independence, low energy consumption, and low risk—were ideal for women. So, what was the ideal image of men about 200 years ago, when Japan maintained a national isolation policy and had no influence from Western cultures and thoughts?

The answer is “Iki.” “Iki” is a term of praise meaning “refined,” “stylish,” “naturally sexy,” and “decent,” among other things. Men who embodied “Iki” were very popular among women. This is a unique Japanese concept established by the townspeople of Edo, the capital of the Shogunate. They were proud of living in Edo, and this attitude was termed “Edokko Kisitsu,” which translates to “the essential nature of Edo townspeople.” In addition to being “Iki,” their personalities included having a strong sense of “Giri-Ninjo” (duty and humanity), a strong sense of justice and being easily moved to tears, being short-tempered and always ready to fight, being vain, being stubborn, and speaking quickly and being fond of puns, among other traits. A fondness for puns and a readiness to fight are not attractive traits for women in the 21st century, but “Iki” and a strong sense of humanity might still be appealing. Therefore, these last two traits should be discussed further.
‘Iki,’ the Spirit of the Edo People
“Iki” means being stylish in appearance and thought, being refined in attitude and personality, or being neat and tidy in dress and mind. This term has a positive connotation. Even now, terms such as ‘iki-na-otoko’ (a man with iki) and ‘iki-na-hakarai’ (treatment with iki) are often used. The opposite words include: ‘inakakusai’ (countrified), ‘akanukenai’ (not refined), ‘busui’ (not iki), ‘yabottai’ (unfashionable), and ‘kiza’ (snobbish). Additionally, ‘ikiru’ (to do iki) and ‘ikigaru’ (to try to be iki), derived from ‘iki,’ are often used today, implying behaving as if one were refined when actually not. The term ‘粋’ (iki) comes from ‘意気’ (iki), a word with the same pronunciation but a different meaning: ‘intention.’ This indicates that ‘粋’ means ‘the passionate intention to fulfill something to the end’ or ‘the perseverance to do so.’

Edo townspeople (mainly men), not caring about trivial profits or losses and trying to be big-hearted, were lavish and generous, saying “I don’t spare any money for tomorrow.” They spent all the money they earned on the same day. They lived from hand to mouth, and if they had spare money, they fully enjoyed themselves without caring about anything. They didn’t save any money because they were not worried about losing their jobs. Edo was flourishing with many construction projects in the town, as well as the development of surrounding areas and major roads stretching from Edo. Additionally, there were many fires in Edo, as they said, “Fires and fights are common in Edo.” No matter how much money they saved, it could all be lost in one fire, they feared.

‘Giri-Ninjo,’ Human Relationships in Edo
The kanji character “粋” pronounced “Iki” can also be read as “Sui.” In this context, it means “understanding the world, human nature, and being sensitive.” This “Sui” led to the concept of “Giri-Ninjo,” a point of pride for Edo townspeople. “Giri” and “Ninjo” are individual words but are often used together. Combined, they refer to social rules and consideration for others. “Giri” is an ethical rule advocating selfless behavior and a guideline on how to act respectfully in social situations.
The connotation of “Giri” appears in phrases such as “Giri-o-Tosu” (obey the Giri rules), “Giri-Gatai” (a real Giri person), “Giri-Date” (Giri first), and “Rei-O-Iwareru-Giri-wa-nai” (there is no Giri to thank me).
In contrast, “Ninjo” refers to human emotion, specifically “Jo,” encompassing consideration and mercy, which everyone is naturally supposed to have. “Giri” is strictly about adhering to social principles and rules, whereas “Ninjo” involves genuine feelings, emotions, and personal empathy, leading people to be compassionate and supportive of others. A typical Edo period story goes like this:
A man hears a sad tale from a stranger in trouble, sympathizes, and ultimately decides to help, saying, “Once I heard your story, I couldn’t help but assist you. We are already on the same boat!” This epitomizes the Japanese virtue of “Giri-Ninjo.” The famous Kurosawa movie “Seven Samurai” follows a similar storyline.
The phrase “Giri-Nijo-Ni-Atsui” (Always doing Giri-Ninjo) refers to a person who makes an extra effort to help and cooperate, is considerate, remembers favors, and is kind and humane. Before the Bubble Collapse, most Japanese companies practiced “Lifetime Employment,” which made workers feel like members of a family. Once employed, individuals showed loyalty to the company and, in return, were cared for until retirement. This system embodied the principles of “Giri-Ninjo.” Currently, business is often conducted with unsentimental, businesslike attitudes. Many workers dislike the company’s drinking parties and familial relationships with colleagues, though it is a shame to lose the traditional “Giri-Ninjo.”



‘Tu,’ Appreciation of Differences
“Sui” refers to the worldly character of a person and means “being familiar with worldly things.” From “Sui” came another aesthetic: “Tu.” “Shijūhatta-nezumi” (48 shades of gray), which is discussed in the third chapter, is an example of “Tu.” The townspeople, prohibited from living a lavish life, developed a refined taste for appreciating things that initially appear grave but reveal delicate and refined qualities upon closer inspection. Today, some people buy and wear brand-name goods but never show off the logos. This understated sense of fashion is also “Tu.”
There are many words and phrases using “Tu,” such as “Shoku-Tu” (foodie) and “Joho-Tu” (information savvy). These terms refer to people who are well-versed in a particular field. When someone pretends to be “Tu,” they are accused of being “Tu-buru.” Conversely, a person who appreciates and enjoys intricately designed details is praised as being “Tu.” In the 1970s, the sense of “Tu” was expressed in popular Nescafe TV commercials with phrases like “The Man Who Knows the Difference,” “The Man Who Knows the Top Quality,” and “The Man Who Appreciates the Difference.” The words “Shibui” (bitter), “Ibushi-gin” (oxidized silver), and “Kibi” (subtlety) describe someone who is not flashy but possesses deep meaning in personality and actions. These concepts are based on the Japanese sense of “Tu.”
Poor but Proud in Spirit of Edo Townspeople
Their other characteristics include being ostentatious, stubborn, picky, and too proud to give up. There is a phrase: “Wearing rags, I have on a gorgeous kimono in my heart.” It means, “No matter how poor one may look, he never loses his dignity and pride.” What counts is what’s inside. Two major elements shaped the typical Japanese spirit of not valuing money: Japanese craftsmanship, which prioritized work over profit, and an idea rooted in orthodox Neo-Confucianism during the Edo period, “Kikoku-Senkin” (valuing rice over money). In today’s capitalist world, where money is considered everything, owning land and assets is seen as virtuous, while not owning things is viewed negatively. English lacks expressions that devalue making money, making this Japanese characteristic quite unique.
Some Specific Features Shown in the Japanese Language
Variety of Expressions
The special terms for Japanese aesthetics were just mentioned, and the language itself has many unique features. Chinese Kanji culture was introduced to Japan, and from Kanji, the writing systems of Hiragana and Katakana were developed. After the beginning of the Meiji period, Western cultures influenced Japan, and words from these cultures began to be expressed using Katakana letters, approximating the original pronunciation.
In English, including both capital and lowercase letters, there are 52 letters in total. However, in Japanese, there are over 100 characters in Hiragana and Katakana, and if Kanji characters are included, the number is estimated to exceed 100,000. Elementary school students learn about 1,000 Kanji characters, and generally, Japanese people use about 5,000 Kanji characters in daily life. This large number of characters allows for sensitive and delicate expression.
This variety of expressions allows for differentiation of subtle differences among similar things. For example, in English, only a few words like ‘deep,’ ‘dark,’ and ‘light’ are used to express differences in similar colors, whereas in Japanese, there are many more options. For instance, different shades of blue in Japanese are expressed with terms like ‘Ai,’ ‘Ruri,’ ‘Gunjo,’ ‘Wasurenagusa,’ ‘Namari,’ ‘Sora,’ and more.
The Japanese words to express different shades of blue, click here to jump
Words Expressing the Human Relationships
The nature of human relationships in Japan affects the number of expressions used to describe them. In English, ‘I’ is the only word used for the speaker, and ‘You’ for the listener. In contrast, Japanese has many words to express ‘I’: watashi, atashi, watakushi, ore, boku, washi, sessya, oira, jibun, oidon, wai, uchi, wagahai, ware, Warawa, syousei, maro, kochitora, achiki, onore, touhou… For ‘you’: anata, kimi, sochirasama, omaesan, anatasama, ansan, nanji, sotitora, sonata, sote, kiden, kikou, onushi, onmi. There are many, and Japanese people can instantly gather a lot of information from hearing a word, such as the speaker’s position, feelings, respect, and love. When speaking to seniors, bosses, or teachers—people in positions of authority—we are supposed to use words that convey respect and politeness, known as “Sonkeigo” and “Kenjogo.” The usage of these words in Japan greatly depends on the context.English has polite forms like “Would you like…?”, but in Japanese, expressing respect and politeness requires changing even the words and expressions used. This stems from the values of “Gratitude and Devotion,” which were nurtured during the long period of samurai rule in Japan. Today, these values are reflected in many business practices, such as how to write a business letter or where to sit in a meeting room. The combination of Japan’s unique history and language has fostered values and a spiritualism that are unparalleled elsewhere. Many of these values have recently been recognized and admired overseas.
一人称の例 「私/ワタシ(わたし) 」「私(わたくし) 」「わたくしめ」「あたし/アタシ/あてぃし」「あたい/あてぇ」「あっし/あーし」「あたくし」「あだす/わだす/わす」「僕/ボク(ぼく、やつがれ) 」「僕ちゃん(ぼくちゃん) 」「ぼくちん」「ぽっくん」「俺/己(おれ) 」「俺様(おれさま)/私様(わたしさま) 」「おれっち」「俺ちゃん「自分(じぶん) 」「儂、私(わし) 」「わい/わて/あて」「あちき」「あちし」「わっち」「うち」「わらわ」「己等(おいら) 」「俺ら(おら) 」「おい/おいどん」「我輩/吾輩/我が輩/吾が輩(わがはい) 」「某(それがし) 」「拙者(せっしゃ) 」「拙僧(せっそう) 」「身共(みども) 」「朕(チン)」「麻呂/麿(まろ) 」「我/吾(われ・わ) 」「余/予(ヨ) 」「小生(しょうせい) 」「手前」「サー」「ミー」「(自分の名前) 」「(一人称無し)」「本官」「当職(弁護士、弁理士、司法書士などが使う。) 」「此方(こなた) 」「小官(しょうかん) 」
二人称の例 「あなたさま」「貴方/貴女」「そなた「あんた」「君」「お主」「己」「貴様」「貴殿」「貴公」「御主」「お前」「閣下」「殿下」「陛下」「そち」「そちら」「うぬ」「おめえ」「てめえ」「汝」「おまん」