Applied to a blog, angkorwatification is a sort of textual equivalent of rewilding. You have a base layer of traditional blog posts that is essentially complete in the sense of having created, over time, an idea space with a clear identity, and a more or less deliberately conceived architecture to it. And you have a secondary organic growth layer that is patiently but relentlessly rewilding the first, inorganic one. That second layer also emerges from the mind of the blogger of course, but does so via surrender to brain entropy rather than via writerly intentions disciplining the flow of words.
Most likely to succeed in defining Japanese aesthetics is a net of associations composed of listings or jottings, connected intuitively, that fills in a background and renders the subject visible.
We have been given a standard to use. It is there, handy daily: things as they are, or Nature itself. This makes good sense, the only sense really—Nature should be our model.
If there is no term for something, it might be thought that the commodity is of small importance. But it is just as likely that this something is of such importance that it is taken for granted, and thus any conveniences, like words, for discussing it are unnecessary.
Realism played small part in the realities of life as experienced by the traditional Japanese artist. The expectations of the artist's cultivated sensibilities did not demand mimesis. Rather, indication, suggestion, simplicity took the place of any fidelity to outward appearance.
Cherry blossoms are to be preferred not when they are at their fullest but afterward, when the air is thick with their falling petals and with the unavoidable reminder that they too have had their day and must rightly perish.
Immortality, in that it is considered at all, is to be found through nature's way. The form is kept though the contents evaporate.