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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 ."
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 .
The key materials of kintsugi are: ki urushi (pure urushiol-based lacquer), bengara urushi (iron red urushi), mugi urushi (a mixture of 50% ki urushi and 50% wheat flour), sabi urushi (a mixture of ki urushi with two kinds of clay), and a storage compartment referred to as a furo ("bath" in Japanese) where the mended pottery can rest at 90% ...
It is said that these ceremonies are profound wabi-sabi events. Wabi-sabi is also related to activities such as architecture, fashion, and philosophy. All of these portions of wabi-sabi all share belief in the same theme: all imperfections such as incomplete work holds undeniable beauty. However, not everyone, of course, favors the idea behind ...
The style is considered a good example of the wabi-sabi aesthetic, [1] and Karatsu ware bowls, plates, and other implements are often used in tea ceremonies. [6] [7] Pottery in general is often called "Karatsu ware" in Western Japan due to how much pottery was produced in the Karatsu area. [2]
His childhood name was Yoshiro (與四郎). [4] [better source needed] As a young man, Rikyū studied tea under the townsman of Sakai named Kitamuki Dōchin (1504–62), [5] and at nineteen, through Dōchin's introduction, he began to study tea under Takeno Jō'ō, who is also associated with the development of the wabi aesthetic in tea ceremony.