The ideals of miyabi stood firmly against the use of metaphors such as this. For example, one poem in the collection likened a woman's hair to snail innards. The Man'yōshū contained poems by people of every walk of life, many of which stood in stark contrast to the sensibilities of miyabi. The tree would soon lose its flowers and would be stripped of everything that made it beautiful and so it showed not only mono no aware, but also miyabi in the process.Īdherents to the ideals of miyabi strove to rid the world of crude forms or aesthetics and emotions that were common in artworks of the period, such as those contained in the Man'yōshū, the oldest extant collection of Japanese poetry. An example of this would be one of a lone cherry tree. Miyabi is often closely connected to the notion of Mono no aware, a bittersweet awareness of the transience of things, and thus it was thought that things in decline showed a great sense of miyabi.

The ideal posed by the word demanded the elimination of anything that was absurd or vulgar and the 'polishing of manners, diction, and feelings to eliminate all roughness and crudity so as to achieve the highest grace.' It expressed that sensitivity to beauty which was the hallmark of the Heian era. In modern Japanese, the word is usually translated as 'elegance,' 'refinement,' or 'courtliness' and sometimes to a 'sweet loved one'. Miyabi (雅) is one of the traditional Japanese aesthetic ideals, though not as prevalent as Iki or Wabi-sabi.

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