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Wabi-sabi is a composite of two interrelated aesthetic concepts, wabi and sabi . According to the Stanford Encyclopedia of Philosophy , wabi may be translated as "subdued, austere beauty," while sabi means "rustic patina ."
Over time their meanings overlapped and converged until they were unified into wabi-sabi, the aesthetic defined as the beauty of things "imperfect, impermanent, and incomplete". [5] Things in bud, or things in decay, as it were, are more evocative of wabi-sabi than things in full bloom because they suggest the transience of things.
The use of Japanese tea developed as a "transformative practice" and began to evolve its own aesthetic, in particular that of wabi-sabi principles. Wabi represents the inner, or spiritual, experiences of human lives. Its original meaning indicated quiet or sober refinement, or subdued taste "characterized by humility, restraint, simplicity ...
The founder of the Matsuo school hailed from Kyoto and learned tea under the 6th Omotesenke iemoto, Kakukakusai. He later settled in Nagoya, where the Matsuo school is centered. A number of the successive Matsuo-ryū iemoto in history have apprenticed under the "reigning" Omotesenke iemoto. [4] Mitani-ryū (三谷流) Miyabi-ryū (雅流)
Over time, boro textiles came to exemplify the Japanese aesthetic of wabi-sabi, with the fabric's reflection of natural wear and use considered beautiful. [6] Many extant examples were preserved through the efforts of folklorists such as Chuzaburo Tanaka, who personally collected over 20,000 pieces of boro during his lifetime, including 786 ...
The present appearance of the structure is understood to be the same as when Yoshimasa himself last saw it. This "unfinished" appearance illustrates one of the aspects of "wabi-sabi" quality. [4] Like Kinkaku-ji, Ginkaku-ji was originally built to serve as a place of rest and solitude for the Shōgun.
Sen no Rikyū (Japanese: 千利休, 1522 – April 21, 1591), also known simply as Rikyū, was a Japanese Buddhist monk and tea master considered the most important influence on the chanoyu, the Japanese "Way of Tea", particularly the tradition of wabi-cha.
Miyabi tried to stay away from the rustic and crude, and in doing so, prevented the traditionally trained courtiers from expressing real feelings in their works. In later years, miyabi and its aesthetic were replaced by the ideals of Higashiyama culture, such as Wabi-sabi, Yuugen, Iki and so on.