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In other words, Kuki says that iki arises from bitai that is modulated by ikiji and akirame. These three moments constitute the intension of iki, the unchanging meaning essences of iki. Iki is most apparent when one is flirting, but when the final objective has been reached, it disappears on its own accord.
Chapter 3 deals with the questions "What are the manifestations of iki as observed in different situations, art, and literary genres?" What are the extensions of iki? In chapter 3 Kuki discusses a number of words describing aesthetic sensibilities in Japanese, including iki, and tries to find out differences in meaning among four pairs of Japanese words.
These sometimes elusive terms are difficult to translate in English but are explained fully in detail in The Structure of Detachment, mentioned in the suggested reading. The pairs are jōhin—gehin, hade—jimi, iki—yabo, and amami—shibumi. The pairs jōhin—gehin and hade—jimi describe people's nature in general, while iki—yabo and amami—shibumi describe people's nature as manifested in romantic relationships between man and woman. Using other characteristics, such as whether a word has a positive/negative meaning, inactive or active, Kuki sets up a matrix of aesthetic words, which he represents in a rectangular prism. On this rectangular prism, he also finds places for such words of aesthetic sensibility not included in these four pairs, chic, raffiné, sabi, otsu, miyabi, and so forth.
"How is iki manifested in natural form?" is the question addressed in Chapter 4. Physical manifestations which embody iki is following, all in somehow or another involves underscoring the constituent elements of iki. Let us see some examples. In terms of body posture, bending as opposed to keeping the bodyline straight breaks the equilibrium, thus symbolizing iki. Wearing of thin fabric embodies iki as it suggests and also inhibits at the same time access to the flesh. Women right after bathing embody iki as it suggests a sumptuous experience just finished. A thin figure suggests spirituality.
Relaxation and tension on the eyes, mouth, and cheeks suggest attentiveness as well as relaxation again suggesting that a dualistic opposition has been broken. Other traits include a thin application of makeup, informal hairstyles, baring the shoulders and upper breast, bare feet-all these suggest and inhibit at the same time a carnal path to the flesh. Lifting the kimono skirt with the left hand (hidarizuma) not only facilitates walking but, more importantly in terms of iki, shows off the ankle, again in reference to the access to the flesh.
Chapter 5 deals with the same topic but Kuki considered more symbolic manifestations of iki, such as those in designs, colors, etc. Of these Kuki places an extraordinary importance to the role of vertical stripes. They, according to Kuki, is a perfect manifestation of dualism. Colors that embody iki are grays, muted browns and blues, all of which suggests erstwhile splendor and pleasurable experience. The same principle may be applied to architecture. Here iki is embodied in the duality of construction material (wood vs. bamboo). Also indirect natural light or oil lantern light go well with the notion of dualism (and breaking of equilibrium slightly). In music-both in terms of musical pitch and rhythm, not following the theoretical value is symbolic of iki.
In this concluding Chapter 6, Kuki returns to the discussion of organicism. Although in the chapters 2 through 5, he isolated elements that make up iki, he now re-stresses that a collection of these elements does not create iki. To know the true nature of iki, indeed any word which has a meaning to an ethnic group or which is central to the being of the group, iki must be tasted, experienced firsthand. The truth about iki—iki's meaning and significance—is revealed only through direct experience of it.
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