“Like many of my contemporaries, I first learned of wabi-sabi during my youthful spiritual quest in the late 1960’s. At that time, the traditional culture of Japan beckoned with profound “answers” to life’s toughest questions. Wabi-sabi seemed to me a nature-based aesthetic paradigm that restored a measure of sanity and proportion to the art of living. Wabi-sabi resolved my artistic dilemma about how to create beautiful things without getting caught up in the dispiriting materialism that usually surrounds such creative acts. Wabi-sabi—deep, multidimensional, elusive—appeared the perfect antidote to the pervasively slick, saccharine, corporate style of beauty that I felt was desensitizing American society. I have since come to believe that wabi-sabi is related to many of the more emphatic anti-aesthetics that invariably spring from the young, modern, creative soul: beat, punk, grunge, or whatever it’s called next.


Wabi-sabi is the most conspicuous and characteristic feature of what we think of as traditional Japanese beauty. It occupies roughly the same position in the Japanese pantheon of aesthetic values as do the Greek ideas of beauty and perfection in the West. Wabi-sabi can in its fullest expression be a way of life. At the very least, it is a particular type of beauty. The closest English word to wabi-sabi is probably “rustic.” Webster’s defines “rustic” as “simple, artless, or unsophisticated… [with] surfaces rough or irregular.” While “rustic” represents only a limited dimension of the wabi-sabi aesthetic, it is the initial impression many people have when they first see a wabi-sabi expression. Wabi-sabi does share some characteristics with what we commonly call “primitive art,” that is, objects that are earthy, simple, unpretentious and fashioned out of natural materials. Unlike primitive art, though, wabi-sabi almost never is used representationally or symbolically. Originally, the Japanese words “wabi” and “sabi” had quite different meanings. “Sabi” originally meant “chill,” “lean,” or “withered.” “Wabi” originally meant the misery of living alone in nature, away from society, and suggested a discouraged, dispirited, cheerless emotional state. Around the fourteenth century, the meanings of both words began to evolve in the direction of more positive aesthetic values. The self-imposed isolation and voluntary poverty of the hermit and ascetic came to be considered opportunities for spiritual richness. For the poetically inclined, this kind of life fostered art appreciation of the minor details of everyday life and insights into the beauty of the inconspicuous and overlooked aspects of nature. In turn, unprepossessing simplicity took on new meaning as the basis for a new, pure beauty”.


What is the universe like?Things are either devolving toward, or evolving from, nothingness. As dusk approaches in the hinterlands, a traveler ponders shelter for the night. He notices tall rushes growing everywhere, so he bundles an armful together as they stand in the field, and knots them at the top. Presto, a living grass hut. The next morning, before embarking on another day’s journey, he unknots the rushes and, presto, the hut de-constructs, disappears, and becomes a virtually indistinguishable part of the larger field of rushes once again. The original wilderness seems to be restored, but minute traces of the shelter remain. A slight twist or bend in a reed here and there. There is also the memory of the hut in the mind of the traveler—and in the mind of the reader reading this description. Wabi-sabi, in its purest, most idealized form, is precisely about these delicate traces, this faint evidence, at the borders of nothingness. While the universe destructs it also constructs. New things emerge out of nothingness. But we can’t really determine by cursory observation whether something is in the evolving or devolving mode. If we didn’t know differently we might mistake the newborn baby boy—small, wrinkled, bent, a little grotesque looking—for the very old man on the brink of death. In representations of wabi-sabi, arbitrarily perhaps, the devolving dynamic generally tends to manifest itself in things a little darker, more obscure and quiet. Things evolving tend to be a little lighter and brighter, a bit clearer and slightly more eye-arresting. And nothingness itself—instead of being empty space, as in the West—is alive with possibility. In metaphysical terms, wabi-sabi suggests that the universe is in constant motion toward or away from potential.


What are the lessons of the universe? Truth comes from the observation of nature. The Japanese have tried to control nature where they could, as best they could, within the limits of available technology. But there was little they could do about the weather—hot and humid summers, cold and dry winters and rain on the average of one out of every three days throughout the year, except during the rainy season in early summer when everything is engulfed in a fine, wet mist for six to eight weeks. And there was little they could do about the earthquakes, volcanic eruptions, typhoons, floods, fires and tidal waves that periodically and unpredictably visited their land. The Japanese didn’t particularly trust nature, but they learned from it. Three of the most obvious lessons gleaned from millennia of contact with nature (and leavened with Taoist thought) were incorporated into the wisdom of wabi-sabi:

1. All things are impermanent. The inclination toward nothingness is unrelenting and universal. Even things that have all the earmarks of substance—things that are hard, inert, solid—present nothing more than the illusion of permanence. We may wear blinders, use ruses to forget, ignore, or pretend otherwise—but all comes to nothing in the end. Everything wears down. The planets and stars, and even intangible things like reputation, family heritage, historical memory, scientific theorems, mathematical proofs, great art and literature (even in digital form)—all eventually fade into oblivion and nonexistence.

2. All things are imperfect. Nothing that exists is without imperfections. When we look really closely at things we see the flaws. The sharp edge of a razor blade, when magnified, reveals microscopic pits, chips and variegations. Every craftsman knows the limits of perfection: the imperfections glare back. And as things begin to break down and approach the primordial state, they become even less perfect, more irregular.

3. All things are incomplete. All things, including the universe itself, are in a constant, never-ending state of becoming or dissolving. Often we arbitrarily designate moments, points along the way, as “finished” or “complete.” But when does something’s destiny finally come to fruition? Is the plant complete when it flowers? When it goes to seed? When the seeds sprout? When everything turns into compost? The notion of completion has no basis in wabi-sabi.


“Greatness” exists in the inconspicuous and overlooked details. Wabi-sabi represents the exact opposite of the Western ideal of great beauty as something monumental, spectacular, and enduring. Wabi-sabi is not found in nature at moments of bloom and lushness, but at moments of inception or subsiding. Wabi-sabi is not about gorgeous flowers, majestic trees or bold landscapes. Wabi-sabi is about the minor and the hidden, the tentative and the ephemeral: things so subtle and evanescent they are invisible to vulgar eyes. Like homeopathic medicine, the essence of wabi-sabi is apportioned in small doses. As the dose decreases, the effect becomes more potent, more profound. The closer things get to nonexistence, the more exquisite and evocative they become. Consequently to experience wabi-sabi means you have to slow way down, be patient and look very closely.


Beauty can be coaxed out of ugliness. Wabi-sabi is ambivalent about separating beauty from non-beauty or ugliness. The beauty of wabi-sabi is, in one respect, the condition of coming to terms with what you consider ugly. Wabi-sabi suggests that beauty is a dynamic event that occurs between you and something else. Beauty can spontaneously occur at any moment given the proper circumstances, context or point of view. Beauty is thus an altered state of consciousness, an extraordinary moment of poetry and grace. To the wealthy merchants, samurai and aristocrats who practiced tea, a medieval Japanese farmer’s hut, which the wabi-sabi tea room was modeled on, was a quite lowly and miserable environment. Yet, in the proper context, with some perceptual guidance, it took on exceptional beauty. Similarly, early wabi-sabi tea utensils were rough, flawed and of undistinguished muddy colors. To tea people accustomed to the Chinese standards of refined, gorgeous and perfect beauty, they were initially perceived as ugly. It is almost as if the pioneers of wabi-sabi intentionally looked for such examples of the conventionally not-beautiful—homely but not excessively grotesque—and created challenging situations where they would be transformed into their opposite.


How do we feel about what we know? Acceptance of the inevitable. Wabi-sabi is an aesthetic appreciation of the evanescence of life. The luxuriant tree of summer is now only withered branches under a winter sky. All that remains of a splendid mansion is a crumbled foundation overgrown with weeds and moss. Wabi-sabi images force us to contemplate our own mortality, and they evoke an existential loneliness and tender sadness. They also stir a mingled bittersweet comfort, since we know all existence shares the same fate. The wabi-sabi state of mind is often communicated through poetry, because poetry lends itself to emotional expression and strong, reverberating images that seem “larger” than the small verbal frame that holds them (thus evoking the larger universe). Rikyu used this oft-repeated poem by Fujiwara no Teika (1162-1241) to describe the mood of wabi-sabi: All around, no flowers in bloom / Nor maple leaves in glare, / A solitary fisherman’s hut alone / On the twilight shore / Of this autumn eve. Certain common sounds also suggest the sad-beautiful feeling of wabi-sabi. The mournful quarks and caws of seagulls and crows. The forlorn bellowing of foghorns. The wails of ambulance sirens echoing through canyons of big city buildings.


Appreciation of the cosmic order. Wabi-sabi suggests the subtlest realms and all the mechanics and dynamics of existence, way beyond what our ordinary senses can perceive. These primordial forces are evoked in everything wabi-sabi, in much the same way that Hindu mandalas or medieval European cathedrals were constructed to emotionally convey their respective cosmic schemes. The materials out of which things wabi-sabi are made elicit these transcendent feelings. The way rice paper transmits light in a diffuse glow. The manner in which clay cracks as it dries. The color and textural metamorphosis of metal when it tarnishes and rusts. All these represent the physical forces and deep structures that underlie our everyday world.


Knowing what we know, how should we act? Get rid of all that is unnecessary. Wabi-sabi means treading lightly on the planet and knowing how to appreciate whatever is encountered, no matter how trifling, whenever it is encountered. “Material poverty, spiritual richness” are wabi-sabi bywords. In other words, wabi-sabi tells us to stop our preoccupation with success—wealth, status, power and luxury—and enjoy the unencumbered life. Obviously, leading the simple wabi-sabi life requires some effort and will and also some tough decisions. Wabi-sabi acknowledges that just as it is important to know when to make choices, it is also important to know when not to make choices: to let things be. Even at the most austere level of material existence, we still live in a world of things. Wabi-sabi is exactly about the delicate balance between the pleasure we get from things and the pleasure we get from freedom of things.


Focus on the intrinsic and ignore material hierarchy. The behavior prescribed for the wabi-sabi tea room is a clear expression of wabi-sabi values. First, as a symbolic act of humility, everyone either bends or crawls to enter the tea room through an entrance purposely designed low and small. Once inside, the atmosphere is egalitarian. Hierarchical thinking—“this is higher/better, that is lower/worse”—is not acceptable. The poor student, the wealthy business person and the powerful religious leader—distinctly different social classes on the outside—are equals within. Similarly, to the sensitive observer, the essential qualities of the objects inside the tea room are either obvious or they are not. Conventional aids to discernment, like the origins and names of the object makers, are of no wabi-sabi consequence. The normal hierarchy of material value related to cost is also pushed aside. Mud, paper and bamboo, in fact, have more intrinsic wabi-sabi qualities/value than do gold, silver and diamonds. In wabi-sabi, there is no “valuable,” since that would imply “not valuable.” An object obtains the state of wabi-sabi only for the moment it is appreciated as such. In the tea room, therefore, things come into existence only when they express their wabi-sabi qualities. Outside the tea room, they return to their ordinary reality, and their wabi-sabi existence fades away. ( Adapted from Wabi-Sabi for Artists, Designers, Poets & Philosophers by Leonard Koren, published by Stone Bridge Press. © 1994 by Leonard Koren )