Wabi Sabi is the Japanese Zen philosophy that all things are imperfect, unfinished and impermanent. It is a fresh way of seeing and moving through the world when our lives, literally and figuratively, feel cluttered. This book shows us how to apply this concept in the context of daily life and offers ideas on how to see it, embrace it and incorporate it into everyday thoughts, objects and situations."--Publisher description.

With “slow living” as the newest incarnation of the simplicity movement, the search for fresh inspiration on ways to live a more authentic life is as pressing as ever. Turning to Eastern traditions, people are discovering the Japanese concept of wabi sabi. The perfect antidote to today’s frenzied, consumer-oriented culture, wabi sabi encourages slowing down, living modestly, and appreciating the natural and imperfect aspect of material culture. While defying definition, wabi sabi is best expressed in brief, evocative bites. In The (...) Little Wabi Sabi Companion, Diane Durston, a noted writer on Japanese art and culture, presents a collection of reflections, along with classic poetry and verse from both Eastern and Western traditions, that capture the wabi sabi moment, and inspire readers to do the same. The subtle beauty of nature, the simplicity of a found object, the impermanence of an autumnal flower arrangement, the solitude of a single fisherman in his boat are all celebrated and reflected upon in this easily browseable book. The text is complemented by photography and calligraphy inspired by the wabi-sabi spirit. This collection of simple, yet profound insights in an irresistable, hold-in-the-hand package offers readers the opportunity for integrating moments of contemplation and meditation into their daily lives, and to discover the essence of wabi sabi. (shrink)

Originally published: Berkeley, Calif. : Stone Bridge Press, 1994.

> この道や行く人なしに秋の暮れ Matsuo Basho 16941 The surface is asymmetrical, the pigment flecked and uneven. Looking close, what seems at a distance to be smooth is actually covered in tiny gentle indentations and irregularities. On one edge, there are a series of fine lines—evidence of past damage, and repair. It is obviously old. But its age is part of its specialness. It is simple, one of a kind, beautiful. The above is a description of a Japanese stoneware tea bowl, like the (...) one in figure 1, embodying an aesthetic dating back to at least the 16th century called wabi-sabi (侘び寂び). Figure 1 Wabi-sabi tea bowl. ottmarliebert.com from Santa Fe, Turtle Island, CC BY-SA 2.0 via Wikimedia Commons. Wabi-sabi is famously difficult to translate, but derives from the words wabi 侘– indicating austerity, simplicity, the quiet life and sabi 寂—indicating maturity, solitude, naturalness. Wabi-sabi refers to the aesthetic appreciation of natural imperfection and impermanence.2 It is embodied in a tradition of handmade pottery, sometimes including repair of past breaks with gold inlay (kintsugi). But it is also reflected in stone gardens, in bonsai, in haiku, and some forms of the Japanese tea ceremony. What, you might ask, does this have to do with medicine? Pottery and aesthetics seem a long way from pathology and medical ethics. First, some …. (shrink)

This paper puts forward Wabi-Sabi aesthetics as one possible philosophical anchor for museum exhibits that focus less on beauty as perfection and more on beauty that reveals the imperfect nature of life and serves as a guide to joyful living. There is a growing trend in contemporary museums to feature not the usual paintings and sculptures, but crafts traditionally looked upon as objects for the hobbyist, not the artist. The mixed reactions from the art world show that this new practice (...) requires a philosophy of beauty that, to begin with, did not look for the beautiful in that which is perfect as inspired by the Platonic ideals. The philosophy of Wabi-Sabis founded on the metaphysics of Buddhism, is here offered as one such foundation, questioning the idea of beauty and art, and blurring the distinctions between art and lift, as well as between art and crafts. (shrink)

Many films, both narrative and documentary, explore the relationship between history and politics or ethics. This may be accomplished when fictional narrative films enact ethical arguments regarding history in cinematic form, when documentary films explicitly seek to uncover lost histories of political oppression, or films may experientially and aesthetically stage ethical experience with respect to historical meanings and contexts. There are some cases where such ethical-historical experience is explored through the specific aesthetic form of the film in relation to its (...) narrative. Ask This of Rikyū is one such example. In this paper, I will suggest that film can explore the relation of aesthetic experience to the ethico-political character of history, opening up ways of responding aesthetically to concrete political conditions. Ask This of Rikyū accomplishes this by interrogating the possibility of a wabi-cinema, established with respect to its title character... (shrink)

The question of Heidegger’s reflections on technology is explored in terms of ‘living with’ technology and including the socio-theoretical notion of ‘entanglement’ towards a review of Heidegger’s understanding of technology and media, including the entertainment industry and modern digital life. I explore Heidegger’s reflections on Gelassenheit by way of the Japanese aesthetic conception of life and of art as wabi-sabi understood with respect to Heidegger’s Gelassenheit as the art of Verfallenheit.

ABSTRACT Ted Gioia associated the “aesthetics of imperfection” with improvised music. In an earlier article, I extended it to all musical performance. This article reconceives my discussion, offering more precise analyses: The aesthetics of imperfection is now argued to involve open, spontaneous response to contingencies of performance or production, reacting positively to idiosyncratic instruments; apparent failings in performance, and so on. Perfectionists, in contrast, prefer a planning model, not readily modified in face of contingencies. Imperfection is not toleration of errors (...) and imperfections, as Gioia assumes, but a positive aesthetic, as in Japanese wabi-sabi. Imperfections can become new styles or kinds of perfection—and so true imperfectionism is a constant striving for new contingencies to respond to. A subtler, more complex relation between composition and improvisation is proposed, in which both have broad and narrow senses. Composition involves works, usually desk produced and notated; or more generally, putting things together in an aesthetically rewarding form. Thus, improvisation is a compositional method. Improvisation and composition are interdependent; both involve structure and spontaneity. Imperfectionism is an aesthetics of performance—of compositions as well as improvisations. Improvisation is no risker, or prone to mistakes, than performance of compositions. (shrink)

Beauty may be in the eye of the beholder, but it's also in the language we use and everywhere in the world around us. In this elegant, witty, and ultimately profound meditation on what is beautiful, Crispin Sartwell begins with six words from six different cultures - ancient Greek's 'to kalon', the Japanese idea of 'wabi-sabi', Hebrew's 'yapha', the Navajo concept 'hozho', Sanskrit 'sundara', and our own English-language 'beauty'. Each word becomes a door onto another way of thinking about, and (...) looking at, what is beautiful in the world, and in our lives. In Sartwell's hands these six names of beauty - and there could be thousands more - are revealed as simple and profound ideas about our world and our selves. (shrink)

Modern technologies sanction a new plasticity of physical form. However, the increasing global popularity of aesthetic procedures produces normative beauty ideals in terms of perfection and symmetry. These conditions limit the semblance of freedom by people to control their own bodies. Cultural emancipation may come from principles in Eastern philosophy. These reveal beauty in authenticity, including imperfection. Wabi-sabi acclaims beauty in common irregularity, while kintsugi celebrates beauty in visible signs of repair, like scars. These principles resist pressure to medicalize dissatisfaction (...) with healthy bodies and invite multi-sited interventions to educate taste and aesthetic choices. (shrink)

What is the meaning of “Japanese” culture? In earlier ages, it was about temples, Noh plays, Kabuki, Utamaro and Wabi-sabi. These traditional icons have, since the Meiji era (1868-1912), been identified as typically Japanese. Are they, however, still relevant today? Has there been any crucial mutation in the cultural identity of Japan? In the contemporary era, more and more people associate Japanese culture with Manga, animation and video games, in other words with cultural developments of the post-World War II era. (...) The Japanese Government has actively promoted the popularity of these new aspects of Japanese culture as evidenced in their eagerness to adopt the expression “Cool Japan,” inspired by its British predecessor’s “Cool Britannia.” Everyone does not share that perception though. Following the 11th March 2011 series of disasters, Japanese artist Tadasu Takamine (1968-) worked on a critical questioning of Japanese society and culture, culminating in a work titled Tadasu Takamine's Cool Japan that was shown at the Art Tower Mito, in Ibaraki Prefecture (2012). The present essay reflects on and develops further the message conveyed by Takamine about contemporary Japanese cultural identity. (shrink)

Aesthetics and arts are strongly linked across East Asia (China, Japan and Korea) and (through pottery and gardens) throughout Southeast Asia as well. This paper outlines eight aesthetic issues pertaining across arts in East Asia, appropriate for K-12: 1) the intimate interrelations among arts (gardens, painting, poetry, calligraphy, music, tea ceremony); 2) nature and the seasons (architecture, poetry, gardens, food); 4) collaboration (poetry, gardens, festivals, and tea ceremony); 5) self-cultivation; 6) symbolism versus allusion; 7) the importance of active imagination in (...) viewing East Asian arts; 8) relations of arts to philosophy. It then explores five areas of East Asian arts and aesthetics that are easy to teach even young students, have interest for high-school and college students (on the introductory or advanced level), and pave the way for the individual student's personal development throughout her life as an adult: 1) Writing Systems, Calligraphy and Painting; 2) Poetry and Painting; 3) Gardens; 4) Aesthetics of Pottery; 5) Tea ceremony. This is followed by brief discussion of 1) special categories of Japanese aesthetics (wabi and sabi, the aesthetics of loneliness and simplicity/impoverishment; kasuri, the embellishment of everyday objects; and aware, recognition of the poignance and brevity of life), 2) gender issues, 3) Zen aesthetics. The final section discusses five issues specifically related to teaching in districts where teaching about either Asia or arts/aesthetics might be in need of justification: 1) the conceptual, intellectual, emotional and artistic advantages for students in learning this material (developing the imagination, analytical skills, and concentration); 2) gender issues (including homosexuality and feminist aesthetics); 3) Asian religion in the classroom; 4) financing (inexpensive aesthetics projects); 5) Asian aesthetics for minority students. The bibliography includes books and articles for teachers and for students (at different levels), videos/ DVDs, and websites, including some guiding you to sites for field trips. (shrink)

Dominic McIver Lopes and Yuriko Saito claim that the Japanese tea ceremony, or chadō, is a non‐Western art form. Stephen Davies also defends that claim. In this article, I utilize the tea ceremony as a test case for pancultural definitions of art that claim to be inclusive of non‐Western cultures without relying on Western ethnocentrism to justify their status as artworks. I argue that Davies's (2015) hybrid definition is not justified in assuming a homogenous art tradition and/or a unified conception (...) of artistic practices in a non‐Western culture. Moreover, the cladistic structure of his definition fails to accommodate the spontaneous instantiation of new art traditions. Additionally, Jerrold Levinson's Intentional‐Historical definition cannot satisfactorily accommodate chadō. First, the nonart origins that were formative for the regard that is required for appreciation of the tea ceremony mean that the relational interpretation of the definition fails. Second, Rikyū’s tea ceremony does not count as art incidentally, as it is not a form of mimesis nor does the Japanese wabi aesthetic that is central to chadō have a precursor in known Western art. Third, if chadō does satisfy Levinson's extended theory, it comes at the cost of embracing Western ethnocentrism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Zen Pathways: An Introduction to the Philosophy and Practice of Zen Buddhism (禅道の千路) by Bret W. Davis (review)Steve G. LoftsBret W. Davis, Zen Pathways: An Introduction to the Philosophy and Practice of Zen Buddhism (禅道の千路)There is no shortage of books on Zen from almost every imaginable angle. And so, what makes Zen Pathways: An Introduction to the Philosophy and Practice of Zen Buddhism (禅道の千路) by Bret W. Davis unique (...) enough to take up and read, and even re-read? And who should read it? The answers to these questions depend on who you are and what you are looking for. If you are simply curious about what Zen philosophy and practice is or is not, a student, a professor looking for a textbook on Zen Buddhism for your course, or a practitioner seeking to deepen your understanding of what it is that you are practicing, then you will almost certainly enjoy and profit greatly from this book. Davis brings to the page over thirty years of active engagement with Zen Buddhism as a practitioner, teacher of philosophy and Zen Buddhism, and scholar. Davis provides his reader with an accessible, comprehensive, and well-documented introduction to the teachings and practices of Zen Buddhism. What makes this introduction stand out and be particularly effective is that Davis provides us with a scholarly and philosophical account of Zen Buddhism that is animated by his personal experience as a long-term practitioner in Japan at the Rinzai Zen monastery of Shōkokuji and as a teacher and director of the Heart of Zen Meditation Group at Loyola University Maryland. However, as the Japanese subtitle of this work, 禅道の千路, makes clear, there are “a thousand paths of the way of Zen,” and Davis is careful to show us the paths he has traveled while leaving it to the reader to find their own paths along the way.In the course of the book’s twenty-four chapters, Davis provides his reader with a clear account and philosophical interpretation of [End Page 159] the core teachings of Buddhism (the four noble truths, impermanence, the no-self doctrine, co-origination and interconnection of the one and the many, nirvana and samsara, the great death, and so on), always relating his theoretical explanations to the concrete perspective of the practice of Zen Buddhism. His account of Zen Buddhism situates it in the historical tradition of Buddhism as it was transplanted from India to China, from China to Japan, and today from Japan to other places in the world. Davis connects these teachings to the practice of Zen, providing readers with a concrete and firsthand introduction to such Zen practices as zazen (seated meditation), kinhin (walking meditation), sanzen (interviews with a teacher), koān work, and samu (meditative work), and to the Zen practice of cultivating naturalness (jinen) in and through such art forms as karate and flower arrangement (ikebana), the Japanese aesthetics of “cut-continuance” and wabi-sabi, as well as Zen-inspired gardens, painting, and music. The book also explores a number of classical and contemporary philosophical issues from the standpoint of Zen Buddhism: the problem of the one and the many, the ethical relation to the other, the problem of evil, the nature of love, freedom and determinacy, what is God, our relation to nature, and so on. Finally, the presentation of the core teachings of Zen Buddhism and the discussion of philosophical issues is undertaken in and through an intercultural and interreligious dialogue in which the similarities and dissimilarities between different cultural and faith traditions are explored and used to help illustrate the unique standpoint of Zen Buddhism. One can mention here Chapter 12 titled “Dying to Live: Zen, Pure Land Buddhism, and Christianity.” This synoptic view of Zen Buddhism is presented in an elegant, personal style that is clear, concise, and expresses a genuine passion and spirit of openness. In copious endnotes, Davis has also provided the reader with a wealth of material for further study that has been judiciously selected from good English translations of readings in the classical works as well as contemporary scholarship. Finally, with an eye to the use of this text in a classroom or in study groups, Davis has... (shrink)

Beginning with the representation of age in extremis in the nature morte or still life, a depiction of aged artifacts and representations of vanitas, artistic representations particularly in painting associate woman and death. Looking at artistic allegories for age and ageing, raising the question of aura for Walter Benjamin along with Ivan Illich and David Hume, this essay reflects on Heidegger on history together with reflections on the ‘death of art’ as well as Arakawa and Gins and Bazon Brock, both (...) as artists ‘at your service,’ as Brock would say, contra death, and including a brief discussion of wabi sabi and kintsugi. The ‘ageing’ of art includes a review of the (ongoing) debate concerning Michelangelo’s forging of the Laocoon as well as ancient views of age together with contemporary philosophic reflections (Simone de Beauvoir and Michel de Certeau). The figure of Baubô in ancient Greek sculpture and cultic context can make it plain, as Nietzsche shows (as Sarah Kofman follows him on this), that laughter and death are connected (along with fertility cults in antiquity). Satire preserves the Greek tradition of laughing at death and the essay closes with Swinburne. (shrink)

Aesthetic virtue concepts are rooted in philosophical assumptions of great depth within their host cultures. This thesis is supported by means of an analysis of some of the central aesthetic virtue concepts in Japanese thought, e.g. sabi, wabi, myosho. These concepts presuppose and reflect the presence of nirvana as the goal of life in Japanese culture. Because there is no western equivalent to the concept of nirvana, these terms likewise have no western equivalents.