Beauty lies in every aspect of existence across a myriad maverick of manifestations, sometimes laying bare its grandeur in allure purely visual, other times making claim instead to be residing in the true meaning of the beautiful through the very nature of their being, or in even different dimensions of what this definition in beauty allows deciphering in- as in the sheer details of its denotation. So while in its encounter through phenomena and experiences, across sights and visuals, along sounds and rhythms, we definitely dwell on diverse derivations of what beauty tends to be- in such versatility of it that dawns differently upon different individuals and imbibes therefore in its definition a depth deftly delivering of a desire intertwined with every notion of this attribute so coveted in its joyousness, beauty can stem also from the words we speak, span across the thoughts we harbour and breed in the silences we treasure. Such is the power of beauty that it does not demand any specific medium for its expression in all sublimity, lending instead its worth to every single assertion coveting of all its profound deliverance in meaning, musing and magic.
This incredible power of beauty to have one and all in its breathtaking embrace permeates most exemplarily the lexicon of languages, stirring stunning imagery along the play of the letters to sum up such utterances beautiful inside and out. Both in the way it spans out as something so delightful to deliver in all wordiness as well as in the idea of which it is alluding, the many a words and phrases of the world present themselves as premises of the most exquisite of beauties. Sometimes enthralling the world with their meaning in common understanding, other times somewhat confined by their evocation within the colloquial explorations of a certain jargon, and on still other occasions delighting only a privileged few with their immense steeping in the dialects of the regional, the strung of the letters that we depend on to deliver each of our ideas and thoughts and visions in a manner that simplifies the complex conjurations of the mind are definite detailers in beauty indeed. Along the linear line of the language and in the lithe lore of the literary resides a beauty most luxuriant in its lucidity and it is one such linguistic locution wherein lies our today’s leaning in lured loitering.
The flowing grace that beauty is, its way and mannerism of expression are never any less delicate yet never any more defined than that divulged across the plays of magic streaming through the dense canopy of the natural world. And canopy as it is that we have already evoked an image of in all its certain mysterious charm of withholding some of the most enticing plays in allure, it is indeed this very reference that guides our ultimate idea in what has stricken us as absolutely beautiful. Holding our fascination today from across the gliding goldenness of the grapheme is a certain word of Japanese nativity but certainly more than captivating of the senses in all universality of its charm. Conveying of such essence as resident in its meaning in immense simplicity, both in understanding as well as in evocation, as the sunlight filtering through the branches or leaves of trees is this certain word charting out indeed one of the many profoundly surreal escapades granted by the nifty nurturing of nature and laying claim therefore upon the exalted expanse of beauty instantaneously and in all prominence. In such eloquence of it therefore, this Japanese word that so smoothly sums up an image of an aesthetic so fine is indeed one capturing of all fancies and spells out as well as a quaintly charming articulated assertion- one that assumes its beautiful identity as ‘Komorebi’.
The very poetic hinges across which Komorebi swings in its nature of natural abundance endows upon it the beauty of which it is essentially esteemed. But what aids also the ‘status’ of this beautiful utterance in all cumulative conjugation is it being among one of the many but unique still untranslatable worlds of the world. Even in encompassing the emotion of an experience universally entrancing, Komorebi does not warrant a direct translation into any other world language nor does it entail a parallel assertion of its essence across any universe else. And it is in this standalone significance of it that exclusively delivers an idea of so much romantic grandeur filtering through the unimaginably bewitching encapsulations afforded only by the mystical might of nature that komorebi spans out as a semantic steeping of a beauty of the most surreal kind. In entailing both an appreciation of nature and in delivering also so efficiently that visage of what makes for a delightful indeed depiction of scenic beauty- so commonplace yet so rarely extolled in such convenient definition across language, the Japanese have managed to elicit once again another sophisticated epitome out of their brilliance in weaving such letters envisaging of the most exemplary occurrences of beauty, this time in such interworking of the aesthetic into the elegiac that which sums up the flowery flow of mouthing the utterly delightful sounding assertion of komorebi.
Despite its seeming premise sprawled across so imaginative articulation of an immensely aesthetic spectacle, the etymology of komorebi is one more conforming with the principles of language. Of very obvious origin is this Japanese word of four characters encompassing in its literal essence reference to trees, escape and light or sun to ultimately arrive at this simultaneously poetic rendition of the komorebi that defies yet any close contemporary of it across any other language- not at least as a singular identity unique in its own reputation of that very connotation in all exclusivity though of course there can be devised phrases and expressions attempting to evoke that particular magnificence of magic emanating from the choicest tricklings of nature’s resplendence. Of course, reiterations like drippling sunlight or dappled sunlight can attempt to serve in part this intention in evoking the essence of a reality as unreal as the one described in all poetic leanings of it but anyone who have appreciated even in momentariness the sheer beauty of what transpires through the very mention of komorebi would know for sure that it would be but only a half hearted rumination of the extravagance that necessarily follows the basic yet magnificent still visage of sunlight finding its own streaming path from across the dense greens of the foliage, infusing therefore the entire environs with the ambient aesthetic of this awareness steeped also in allegory if one only has the skill to decipher in true consideration of the variegated scope of nature.
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For indeed even in celebrating the gentle glare of the sun managing to eke its own glory, komorebi does more than just exemplify this immense enough assertion of natural beauty across as captivating rhetoric of the linguistic as possible. In singling out this stunning manifestation of splendor in sync with the sizzling spirit of nature, komorebi also drives home the desire to eke out indeed one own way in this world buoyant in its many a hues. In much the same manner as the sun streaking through the branches and leaves, integrating therefore across this interplay a moment in immersive iridescence, albeit of its own definite prominence, komorebi sums up also an idea of life itself riddled with the many a feelings of profound intensity of which one needs to be skilfully traversing in. And yet, komorebi still does emphasis to extreme the beauty of what it actually defines, without however for once coming across as too much dwelling on but the superficial only stature of the sightly. Even when komorebi is essentially visual in its drama, sometimes unfurling across subdued expanses of a genial pleasantness soaking of souls and spirits in all sublimity, at other times asserting instead as awe inspiring rendezvous with the nuanced finery of nature, it still is efficiently evoking of the spectrum of the emotional in all its transcendental transpiring. The word itself might be Japanese but in perfectly capturing the eternal essence of a phenomenon in some momentariness, komorebi skilfully evades the incomprehensible incongruities of what might limit languages. In delivering so adeptly the essence of a beautiful realisation stemming from nature in terms as appreciable as it is appreciative, komorebi in fact even furthers the Japanese pride as far as popular parlance might allow.
