  After positioning the phenomenon of iki among a variety of other aesthetic feelings such as sweet (amami) versus astringent (shibumi), flashy (hade) versus quiet (jimi), and crude (gehin) versus refined (jōhin), Kuki goes on to examine the objective expressions of the phenomenon, which are either “natural” or “artistic” (Nara, 24–34). In nature, willow trees and slow, steady rain exemplify iki; in the human body a slight relaxation, a voice of medium rather than high pitch, a face that is long rather than round, a certain tension and relaxation together of the eyes, mouth, and cheeks, the hand curved or slightly bent back. Also iki is the wearing of thin fabric, makeup thinly applied, hair styled not too formally, with the aid of water rather than oil, and a décolletage designed to call attention to the nape of the neck laid bare (Nara, 35–39).