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On the "Flower" (花) in Zeami : an attempt of its discrimination(Papers Read at the 34th National Congress)


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  • 世阿彌の能楽論に於ける<花>について : 一つの解明の試み(美学会第三十四回全国大会報告)


0. The Noh-play is an art of performance realized in the theatrical relation between the actor and spectators. Zeami calls the aesthetic value of the performance "Flower". There are three fundamental kinds of "Flower" as follows. 1. The "Flower" of Body (態の花) This "Flower" appears in the sensuous qualities of the actor, especially, sweet voice and charming posture, which only the younger possess. But as he grows older, he loses this transient beauty. 2. The "Flower" of Mind (心の花) This "Flower" comes out at the dimension of performance which harmonizes Mind with Body. At this stage of harmonized Mind-Body attained through the discipline, the actor presents the graceful figure of the Body and expresses the profundity of the Mind. At the climax of the play, spectators sympathize with the deep passion of the personage, contemplating the elegant figure and movement of the actor. Then spectators experience the beauty called "Yugen". 3. The "Flower" of No-Mind (無心の花) During the course of performance, the actor comes to lose his consciouness controlling the Body and techniques and reach the dimension of No-Mind. No-Mind is the creative subjectivity in human nature. At this stage of performance, the most splendid "Flower" blossoms out.


  • Aesthetics

    Aesthetics 34 (3), 63-, 1983

    The Japanese Society for Aesthetics

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