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Therefore, an attempt to directly translate wabi-sabi may take away from the ambiguity that is so important to understanding how the Japanese view it. [8] After centuries of incorporating artistic and Buddhist influences from China, wabi-sabi eventually evolved into a distinctly Japanese ideal.
Japanese aesthetics comprise a set of ancient ideals that include wabi (transient and stark beauty), sabi (the beauty of natural patina and aging), and yūgen (profound grace and subtlety). [1] These ideals, and others, underpin much of Japanese cultural and aesthetic norms on what is considered tasteful or beautiful .
Based largely on the ideals and aesthetics of Zen Buddhism, especially those temples under the Five Mountain System, and the concept of wabi-sabi, Higashiyama culture centered on the development of chadō (Japanese tea ceremony), ikebana (flower arranging), Noh drama, and sumi-e ink painting. Much of what is commonly seen today as Japanese Zen ...
Lacquerware is a longstanding tradition in Japan [6] [7] and, at some point, kintsugi may have been combined with maki-e as a replacement for other ceramic repair techniques. . While the process is associated with Japanese craftsmen, the technique was also applied to ceramic pieces of other origins including China, Vietnam, and Kor
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 ...
Murata Jukō (村田珠光, 1423–1502) is known in Japanese cultural history as the founder of the Japanese tea ceremony, [1] in that he was the early developer of the wabi-cha style of tea enjoyment employing native Japanese implements. [2] His name may also be pronounced Murata Shukō.
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. He was also the first to emphasize several key aspects of the ceremony, including rustic ...
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 ...