Zeami and the Transition of the Concept of Yugen: A Note on Japanese Aesthetics

Abstract

THE NO THEATER is one of the significant cultural achievements of Japan in the middle ages (1192-1868).Its founder, Kannami Kiyotsugu (1333-1384), by combining attractive and effective techniques of rival theatrical entertainments, gave strength and prominence to the art oisarugaku no no, the early form of the No theatre.His son, Zeami Motokiyo (1364-1444), contributed to the art by exploring its aesthetic depth, determining the basic way of training performers, and adding many outstanding plays to the repertory.In his effort to establish aesthetic principles for the art, Zeami adopted the concept of yugen, the beauty of gentle gracefulness.This concept is his central idea and his entire work revolves around and develops from it.The concept of yugen that Zeami succeeded in elevating to its ultimate stage of transcendence was based on the achievements of his two predecessors.The first was Kannami's bold inclusion of the yugen quality in sarugaku no no, whose primary strength had been in monomane (literally, mime or imitation).The second was the enriched quality of yugen attained through the endeavor of Inuo (P-1413), whose ceaseless