Finding beauty in life's fleeting moments – a sakura-inspired observation
On the surface, the Japanese philosophy of mono no aware – or the pathos of things – might sound a little melancholic.
In reality, it is a unique Japanese concept or belief: to be more aware and sensitive of life and how it isn't a permanent one. However, it is also not a complete surrender to fate, but an elegant and subtle sentiment sandwiched between compassion and regret.
Simply put, it defines the appreciation for something that's lost in between all the rapid changes. Such emotion happens not only from a major event, but often also lurks inside the smallest details in life.
I think Sakura (cherry blossoms) is perhaps the best embodiment of mono no aware.
For me, the beauty of cherry blossoms lies in their momentary existence. The flowers that typically last only a couple of days are dreamy, their petals fluttering in the breeze like pink snowflakes, carpeting the floor and transporting one into a surreal poetic realm.
Nevertheless, most of us are well aware that all that beauty will come to a close soon enough. This instantaneous beauty is veritably the essence of mono no aware. Because it is short-lived, it is all the more precious and must be appreciated.
Tourists on a boat ride at Omi Hachiman, where boatmen will tell stories of the Somei Yoshino trees, a cherry blossom variety.
And since it will 'vanish' in no time, we tend to treasure its transient existence.
As such, hanami or sakura viewing in Japan is more than just the act of looking at the flowers – it is sort of a ritual, too. In fact, for some hanami is a sacred ritual. Whether you are chasing the cherry blossoms or merely appreciating their beauty, the action is a cultural legacy that has been passed down for centuries, and is a response to the passing of life, nature, and time.
Mono no aware is different from wabi sabi – another Japanese concept – that we are probably more familiar with. Wabi sabi underscores the beauty of simplicity, exclusivity and imperfection, while mono no aware accentuates the more subtle spiritual reverberations. It is unlike the Western-style 'tragic beauty' that typifies dramatic twists of events; it is a more composed sentiment, just like the flower petals that fall off the tree at the onset of a breeze.
In Japanese aesthetics, be it tea art, flower arrangement, or garden design, such 'impermanent beauty' can be felt all the time.
The shorter and quieter the momentary existence, the more heart-touching it will be.
Mono no aware has existed way before classical Japanese literature, too. Today, its presence can be felt across every aspect of Japanese society, including in the animation of filmmaker Hayao Miyazaki. From the fluttering of flower petals in spring to the frantic movements of busy urban folks ... all these are classic representations of mono no aware.
Every time I take a group of travel buddies to Japan, I will always take them to a Muji store. Like many Japanese brands, Muji's aesthetics are simple, featuring a more neutral colour scheme that nevertheless exudes the feeling of warmth. Its no-frills design philosophy is an embodiment of the company's deep observation of the people's day-to-day life, as well as its quiet acceptance of the unpredictability of our planet.
Most of the time, anyone who steps into the shop will feel compelled to buy something. Even the smallest items on display will make you feel something.
I remember that once, my travel buddies and I were shopping for seasonal wagashi (local confectionery) in a department store. The short poems on the packaging illustrated the beauty of spring and cherry blossoms. There was one by renowned Japanese poet Matsuo Basho that said something like this: 'All the memories are coming back to me when the cherry tree blooms.'
I guess this is the power of mono no aware. Cherry blossoms last no more than seven days, and the seasonal wagashi will also be on sale for just a single flowering season. All this is not meant to stay permanently but for a just that short period of time, to give us that instantaneous excitement.
My favourite pink-coloured azuki bean mochi is wrapped in a cherry leaf. It tastes sweet and is flavourful, just like any other mochi.
However, how it makes me feel each time I eat it is indescribable. Instead, I am reminded of a short poem by Ozaki Hosai that goes something like this: 'Standing under the flowers, I'm gazing at the cherry blossoms in full bloom.'
Chasing cherry blossoms in Japan is very popular among travellers.
Today, travelling is not just about taking nice pictures at popular sightseeing spots, but to enjoy such moments of mono no aware.
During our sakura-chasing trip this year, we enjoyed the beauty of cherry blossoms in full glory, chatted away the hours, and strolled along the streets quietly.
It appeared to me that time was slowing down for us. We were not rushed, nor did we feel rushed.
All that we experienced were the gentle breezes, flowers, shadows, and ourselves.
In short, this trip was not meant for us to run through all the must-see attractions in a short time, but to enjoy the slowness of life and that faint mono no aware feel.
I wrote this article when we were in Japan, when the cherry blossoms were in full bloom. One day, my travel buddies and I were walking slowly on the pebble stone trail at Minobusan Kuon-ji temple, towards the main hall of Okuno-in.
The round pebbles under our feet have witnessed the movements of people for over a thousand years. In front of us were several pink weeping cherry trees that are over 400 years old, quietly blooming in the mountain breeze. The shadows of the tree branches were gently swaying. It was beautiful and rather sad at the same time. It felt like a a premonition of prosperity and decline, a gentle farewell hidden in short-lived splendour.
The views expressed here are entirely the writer's own.
Leesan, the globe-trotting traveller who has visited 147 countries and seven continents, enjoys sharing his travel stories and insights. He has also authored six books.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Express
10 hours ago
- Daily Express
Vintage photos – ‘frozen' moments of North Borneo
Published on: Sunday, June 22, 2025 Published on: Sun, Jun 22, 2025 Text Size: This is the famous iconic panoramic picture of a very beautiful and neat-looking pre-war Sandakan taken in 1941 by Kwan Yau Mui, assisted by brother Kwan Dick Fook. Readers should note the photo is printed by surgically joining four negatives (below) together, giving an impression that it comes from one single wide angle shot. The Kwan brothers deserve a tribute for this heritage picture. MY fascination with North Borneo stamps initially sparked my interest in collecting postcards and real picture postcards (RPPC). As my collection grew, I realised I had amassed a substantial number of vintage images from the region. These photographs, often taken by professional local photographers, serve as windows into a society experiencing rapid societal and cultural change. Intrigued by their stories, I began researching the photographers, when and where the images were taken and who captured them. Advertisement These local photographers, I believe, were the region's earliest 'ambassadors' of tourism, culture, and history. The earliest of these ambassadors was Philippe B. Funk. With Dr PK Lim, we authored a book in 2014 titled 'Prewar Images of North Borneo', which shed light on Funk's contributions. The work was featured in the Daily Express as a weekly article in 2015. The Kwan brothers – pioneer lens men But perhaps even more fascinating are the Kwan Brothers – Kwan Kai Fook, Kwan Yau Mui, and Kwan Dick Fook, whose extensive collection of photographs remains influential today. Their images, many of which are traded online, serve as a lasting testament to their significant role in documenting the history of North Borneo. The Kwan Brothers played a pivotal role in pioneering photography in North Borneo during the early 20th century. They produced a vast array of historical photographs, greeting cards, and postcards depicting the region's architecture, landscapes, and indigenous populations. Their work captured the essence of life in North Borneo - its people, its society, and its environment, serving as a visual archive of a society on the verge of monumental change. Journey began in 1928 The journey of these photographers began before 1928 with Lee Nam Keng Kee & Sons, which produced five postcards during that period. Kwan Yau Mui, an avid photographer, established Sunshinewood Photo Service in 1928, operating from the first floor of Lee Nam Keng Kee at 69 Jalan Tiga, Sandakan. Many of the iconic pre-war images from Sandakan originate from his camera. As business flourished, the brothers founded The Flower Studio in 1938, located above Funk & Sons – a Western sundry shop on Jalan Tiga near North Borneo Trading. These studios became renowned for their ability to capture and preserve the spirit of life during the pre-war years. Their photographic work, especially the postcards adorned with typewritten captions, stands out for their clarity and subtle insights into daily life. These images encapsulate a society on the brink of monumental change, a culture that was both proud of its traditions and eager for progress. Famous panorama of pre-war Sandakan One of the most remarkable contributions of the Kwan Brothers was their pioneering work in panoramic photography. In 1941, Kwan Yau Mui and Kwan Dick Fook captured a famous panoramic view of pre-war Sandakan (Top picture). This masterpiece involved four carefully taken frames from strategic vantage points, maintaining a consistent focal point. The negatives were developed and pieced together with precision, preserving proportions and detail. Readers, especially Sandakan folks, should appreciate what a special effort or feat this really is, because although the world's first wide angle lens – Harison & Schnitza Globe (USA), was invented in 1862, professional photographers of North Borneo like the Kwan brothers, definitely were not equipped with such means or luxuries. So they resorted to joining up what looks like four 126-size negatives, incised and knitted so carefully together that when the panoramic picture was printed, it looks as though it comes from one single wide angle shot! It's a super darkroom job which people won't do unless they really had a heart for it. They also captured a panoramic view of Jesselton from the Residency on Signal Hill. These panoramic photographs serve as poignant reminders of the destructive impact of war. The contrast between the peaceful pre-war scenes and the post-war devastation (bottom picture) highlights how conflict leaves scars on both communities and landscapes. The scenes created by war, though tragic, also testify to the resilience of the people who lived through it. Editor's note: The article and pictures are contributed by the book's author, Sandakan-born Nicholas KM Tan, a noted collector and researcher of vintage postcards and impermanent postal collectables, thus preserved fleeting moments of colony North history published in the book. Besides being a graduate in Computer Science from North London Polytechnic, Tan is founder of Hotel Sixty3 on Gaya St, KK, co-author of another book 'Pre-War images of North Borneo'. He and wife Gloria Kah have six daughters.
Barnama
2 days ago
- Barnama
87 Japanese Nationals, Family Members Evacuated From Iran, Israel
TOKYO, June 20 (Bernama-Kyodo) -- A total of 87 Japanese nationals and their family members have evacuated from Iran and Israel amid intensifying tensions in the Middle East, the Japanese government said Friday. According to Kyodo news agency, the evacuees arrived by bus in Azerbaijan and Jordan as local airports remained closed and none had health issues, Foreign Minister Takeshi Iwaya said. Of the 87 including six foreigners, 66 left Tehran and arrived in Baku early Friday, while 21 departed from Tel Aviv and reached Amman on Thursday afternoon, the Foreign Ministry said.
Malaysia Sun
4 days ago
- Malaysia Sun
Feature: How Blanc de Chine bridges centuries of global trade in porcelain
As the Chinese county Dehua reinterprets its centuries-old craftsmanship for today, its porcelain continues to bridge cultures through innovation. FUZHOU, China, June 18 (Xinhua) -- In the factories of Dehua County of Quanzhou City in southeast China's Fujian Province, ceramic workers are racing against time to fulfill Christmas orders destined for overseas markets. With a history spanning over five centuries, Dehua ceramics have evolved from gracing the tables of European royal courts to adorning the kitchen cupboards of Western homes. "BLANC DE CHINE" As a key trade commodity on the ancient Maritime Silk Road, Dehua porcelains began to be exported as early as the 10th century during China's Southern Song Dynasty, reached their peak in the 17th and 18th centuries, and continue to be produced to this day. The global footprint of Dehua ceramics spans countries along the Maritime Silk Road, extending deep into Europe. Traces of Dehua porcelain have been unearthed outside China, bearing witness to its far-reaching influence. White porcelain, in particular, first entered Europe in the 16th century, quickly becoming popular. It was dubbed the "Blanc de Chine" -- literally "White from China" -- by the French owing to its creamy, milky color and lustrous surface. The Tokyo National Museum in Japan also houses a large collection of exquisite Dehua porcelain pieces from ancient China, many of which were shipped and traded along the ancient Maritime Silk Road. Experts see this transcontinental fascination as an early symbol of cultural diplomacy. "More than just a form of art, it has served as a vital medium for trade and cultural exchange between China and Japan," Zhang Minggui, executive secretary general of the Dehua ceramic art masters alliance, said in an exhibition tour held at the Museum of Kyoto in March. DIVERSE TASTES To date, Dehua's porcelain industry continues to evolve -- its wares found not just in museums but also on the dining tables and mantelpieces of everyday homes. June is one of the busiest periods for local manufacturers, as they prepare shipments of ceramic ornaments, kitchenware and others in the run-up to Christmas. "About 80 percent of our orders are from Europe and North America," said Lian Minpan, CEO of Fujian Redeco Industry and Trading Limited, a major ceramic exporter. Dehua's exports reached 118.5 million U.S. dollars in the first quarter of 2025, marking an 8.8-percent year-on-year increase, according to local official data. Dehua is also actively promoting overseas exhibitions as part of its efforts to enhance the international visibility of Dehua white porcelain. Earlier this month, the "Yu*Jian" civilizations exchange event opened in Central Asia's Turkmenistan. The accompanying Dehua white porcelain exhibition features over 40 modern works that blend tradition and innovation, with horse-themed pieces highlighting the shared cultural ties and friendship between the two nations. In January, the "White from China" exhibition was held in Malaysia, with over 40 contemporary pieces on display. "Each piece is unique," said Hasnol Zam Zam Ahmad, secretary general of the Ministry of National Unity, expressing hope that such events will deepen cultural exchange and inspire future collaborations between Malaysia and China. Such exhibitions have also been launched in the United States, Belgium and other parts of the world in recent years. From everyday mugs to exquisite china creations, Dehua's porcelain has been subtly integrated into seasonal lifestyles worldwide. CRAFT MEETS INNOVATION To meet evolving global demand while preserving their legacy, Dehua's porcelain makers are undergoing a revolution that embraces technological innovation with cultural refinement. In modernized workshops, automatic kilns and AI-powered design tools now enhance precision and efficiency. The traditional ceramic production process involves dozens of steps, all of which rely on manual skill and are prone to variable quality. Automation is transforming the traditional production process at Dehua Tongxin Ceramics Co., Ltd. A total of 75 intelligent production lines operate at full capacity, pressing clay into flowerpot shapes in 10 seconds, completing slip casting molds in 15 seconds, and finishing a complete rolling cycle in just 10 minutes. "Automated production not only lowers manufacturing costs, but also significantly improves the yield rate," said Zeng Liangfeng, general manager of Tongxin Ceramics. According to Zeng, the company's new facility will be developed into a digitized smart factory, with automation expected to reach 80 percent. Beyond production, companies are cultivating high-value cultural brands. Artisans collaborate to create porcelain that merges Eastern symbolism with Western aesthetics. Quanzhou Shunmei Group has partnered with internationally renowned brands, including Disney and Starbucks. By creating ceramic products inspired by their iconic intellectual property, the company has achieved strong market appeal both at home and abroad. As Dehua reinterprets its centuries-old craftsmanship for the modern era, its porcelain continues to serve as a cultural bridge carrying forward the spirit of innovation and deepening the dialogue between different civilizations in an interconnected world.
