Wabi-Sabi
«Саби создает атмосферу одиночества, но это не одиночество человека, потерявшего любимое существо. Это одиночество дождя, падающего ночью на дерево с широкими листьями, или одиночество цикады, стрекочущей на голых белесых камнях... В безличной атмосфере одиночества - суть саби. Саби близко понятию ваби у Рикю и отличается от ваби тем, что олицетворяет скорее отстранение, чем приобщение к простым человеческим чувствам».
the famous phrase mono no aware, meaning roughly “the sensitivity to the sadness of things.” Other aesthetic qualities emphasized by classical scholars and critics are en (“charming”), okashi (“amusing”), and sabi (having the beauty of old, faded, worn, or lovely things).
Wabi-sabi represents a comprehensive Japanese world view or aesthetic centered on the acceptance of transience. The phrase comes from the two words wabi and sabi. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete" It is a concept derived from the Buddhist assertion of the Three marks of existence - Anicca, or Impermanence.
Wabi-sabi is the most conspicuous and characteristic feature of what we think of as traditional Japanese beauty and it "occupies roughly the same position in the Japanese pantheon of aesthetic values as do the Greek ideals of beauty and perfection in the West."
Andrew Juniper claims, "if an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi."
Richard R. Powell summarizes by saying "It (wabi-sabi) nurtures all that is authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect."
The words wabi and sabi do not translate easily. Wabi originally referred to the loneliness of living in nature, remote from society; sabi meant "chill", "lean" or "withered". Around the 14th century these meanings began to change, taking on more positive connotations.[1] Wabi now connotes rustic simplicity, freshness or quietness, and can be applied to both natural and human-made objects, or understated elegance. It can also refer to quirks and anomalies arising from the process of construction, which add uniqueness and elegance to the object. Sabi is beauty or serenity that comes with age, when the life of the object and its impermanence are evidenced in its patina and wear, or in any visible repairs.
Wabi and sabi both suggest sentiments of desolation and solitude. In the Mahayana Buddhist view of the universe, these may be viewed as positive characteristics, representing liberation from a material world and transcendence to a simpler life. Mahayana philosophy itself, however, warns that genuine understanding cannot be achieved through words or language, so accepting wabi-sabi on nonverbal terms may be the most appropriate approach.
The wabi and sabi concepts are religious in origin, but actual usage of the words in Japanese is often quite casual.
Many Japanese arts over the past thousand years have been influenced by Zen and Mahayana philosophy, particularly acceptance and contemplation of the imperfection, constant flux, and impermanence of all things. Such arts can exemplify a wabi-sabi aesthetic. Here is an incomplete list:
* honkyoku (traditional shakuhachi music of wandering Zen monks)
* ikebana (flower arrangement)
* Japanese gardens, Zen gardens, and bonsai (tray gardens)
* Japanese poetry, particularly haiku
* Japanese pottery, notably Hagi ware
* Japanese tea ceremony
In the Western world, aesthetics is considered to be the branch of philosophy that is concerned with concepts of value and beauty as they relate to the arts. Philosophers from Plato until the present time have had fairly rigid ideas about what artists should create and what people should like, but in today's world, aestheticians represent a variety of approaches to the philosophy of art.
Aesthetics, in the broadest sense, may be thought of as a world view, a view that may be markedly different in other cultures. Objects from other cultures that are categorized as art works from the Western perspective may or may not hold the same meaning in their culture of origin. Precisely because of possible differences in world views and aesthetic stances of non-Western cultures, it is important to set aside Western aesthetics as criteria when making judgments about non-Western art. For example, many non-Western cultures recognize no distinction between fine art and craft, may not even have a word for "art," and may not separate art from everyday life.
Since wabi-sabi represents a comprehensive Japanese world view or aesthetic system.
Wabi-sabi is a beauty of things imperfect, impermanent, and incomplete.
It is the beauty of things modest and humble.
It is the beauty of things unconventional.
All things are impermanent
All things are imperfect
All things are incomplete
Material characteristics of wabi-sabi:
suggestion of natural process
irregular
intimate
unpretentious
earthy
simple
…
Aesthetic objects are not left on permanent display in Japanese homes, but are brought out for focused viewing and appreciation for specific purposes or seasons. As the season or purpose for display changes, the objects are stored and replaced by others more appropriate. Though Japanese rooms sometimes may appear too bare or simple for Western tastes, a Japanese visiting an a typical American home may feel surrounded and overwhelmed by visual clutter.
the famous phrase mono no aware, meaning roughly “the sensitivity to the sadness of things.” Other aesthetic qualities emphasized by classical scholars and critics are en (“charming”), okashi (“amusing”), and sabi (having the beauty of old, faded, worn, or lovely things).
Wabi-sabi represents a comprehensive Japanese world view or aesthetic centered on the acceptance of transience. The phrase comes from the two words wabi and sabi. The aesthetic is sometimes described as one of beauty that is "imperfect, impermanent, and incomplete" It is a concept derived from the Buddhist assertion of the Three marks of existence - Anicca, or Impermanence.
Wabi-sabi is the most conspicuous and characteristic feature of what we think of as traditional Japanese beauty and it "occupies roughly the same position in the Japanese pantheon of aesthetic values as do the Greek ideals of beauty and perfection in the West."
Andrew Juniper claims, "if an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi."
Richard R. Powell summarizes by saying "It (wabi-sabi) nurtures all that is authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect."
The words wabi and sabi do not translate easily. Wabi originally referred to the loneliness of living in nature, remote from society; sabi meant "chill", "lean" or "withered". Around the 14th century these meanings began to change, taking on more positive connotations.[1] Wabi now connotes rustic simplicity, freshness or quietness, and can be applied to both natural and human-made objects, or understated elegance. It can also refer to quirks and anomalies arising from the process of construction, which add uniqueness and elegance to the object. Sabi is beauty or serenity that comes with age, when the life of the object and its impermanence are evidenced in its patina and wear, or in any visible repairs.
Wabi and sabi both suggest sentiments of desolation and solitude. In the Mahayana Buddhist view of the universe, these may be viewed as positive characteristics, representing liberation from a material world and transcendence to a simpler life. Mahayana philosophy itself, however, warns that genuine understanding cannot be achieved through words or language, so accepting wabi-sabi on nonverbal terms may be the most appropriate approach.
The wabi and sabi concepts are religious in origin, but actual usage of the words in Japanese is often quite casual.
Many Japanese arts over the past thousand years have been influenced by Zen and Mahayana philosophy, particularly acceptance and contemplation of the imperfection, constant flux, and impermanence of all things. Such arts can exemplify a wabi-sabi aesthetic. Here is an incomplete list:
* honkyoku (traditional shakuhachi music of wandering Zen monks)
* ikebana (flower arrangement)
* Japanese gardens, Zen gardens, and bonsai (tray gardens)
* Japanese poetry, particularly haiku
* Japanese pottery, notably Hagi ware
* Japanese tea ceremony
In the Western world, aesthetics is considered to be the branch of philosophy that is concerned with concepts of value and beauty as they relate to the arts. Philosophers from Plato until the present time have had fairly rigid ideas about what artists should create and what people should like, but in today's world, aestheticians represent a variety of approaches to the philosophy of art.
Aesthetics, in the broadest sense, may be thought of as a world view, a view that may be markedly different in other cultures. Objects from other cultures that are categorized as art works from the Western perspective may or may not hold the same meaning in their culture of origin. Precisely because of possible differences in world views and aesthetic stances of non-Western cultures, it is important to set aside Western aesthetics as criteria when making judgments about non-Western art. For example, many non-Western cultures recognize no distinction between fine art and craft, may not even have a word for "art," and may not separate art from everyday life.
Since wabi-sabi represents a comprehensive Japanese world view or aesthetic system.
Wabi-sabi is a beauty of things imperfect, impermanent, and incomplete.
It is the beauty of things modest and humble.
It is the beauty of things unconventional.
All things are impermanent
All things are imperfect
All things are incomplete
Material characteristics of wabi-sabi:
suggestion of natural process
irregular
intimate
unpretentious
earthy
simple
…
Aesthetic objects are not left on permanent display in Japanese homes, but are brought out for focused viewing and appreciation for specific purposes or seasons. As the season or purpose for display changes, the objects are stored and replaced by others more appropriate. Though Japanese rooms sometimes may appear too bare or simple for Western tastes, a Japanese visiting an a typical American home may feel surrounded and overwhelmed by visual clutter.