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Inoue classifies ikigai into three directions – social ikigai, non-social ikigai, and anti-social ikigai – from a social perspective. Social ikigai refers to ikigai that are accepted by society through volunteer activities and circle activities. An asocial ikigai is an ikigai that is not directly related to society, such as faith or self ...
Mieko Kamiya was born as the second child and the first daughter of five children of Tamon Maeda and Fusako Maeda. Tamon, a son of an Osaka merchant, was the prewar Japanese ambassador to the International Labour Organization and postwar Minister of Education.
Download QR code; Print/export Download as PDF; Printable version; In other projects ... Ikigai / 生き甲斐 (Vol. 1) is an EP by Nigerian rapper Olamide, ...
Hara hachi bun me (腹八分目) (also spelled hara hachi bu, and sometimes misspelled hari hachi bu) is a Confucian [1] teaching that instructs people to eat until they are 80 percent full. [2]
Onnayu [1] (Ladies' Bath), a colored ukiyo-e print by Torii Kiyonaga (1752–1815) depicting a male sansuke (upper left corner) attending on women at a public bathhouse. Ukiyo (浮世, 'floating/fleeting/transient world') is the Japanese term used to describe the urban lifestyle and culture, especially the pleasure-seeking aspects, of Edo period Japan (1600–1867).
Ikiru (生きる, "To Live") is a 1952 Japanese tragedy film directed by Akira Kurosawa from a screenplay co-written with Shinobu Hashimoto and Hideo Oguni.The film examines the struggles of a terminally ill Tokyo bureaucrat (played by Takashi Shimura) and his final quest for meaning.
Ikigami: The Ultimate Limit (イキガミ, Ikigami) is a Japanese manga series written and illustrated by Motoro Mase. The manga was serialized in Shogakukan's Weekly Young Sunday (2005–2008) and Weekly Big Comic Spirits (2008–2012).
Japanese woodblock print showcasing transience, precarious beauty, and the passage of time, thus "mirroring" mono no aware [1] Mono no aware (物の哀れ), [a] lit. ' the pathos of things ', and also translated as ' an empathy toward things ', or ' a sensitivity to ephemera ', is a Japanese idiom for the awareness of impermanence (無常, mujō), or transience of things, and both a transient ...