Refurbishing
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Introduction
Wabi-sabi is a Japanese aesthetic that focuses on the acceptance of imperfection and impermanence in the w0rld. Wabi and Sabi are two key concepts of Japanese aesthetic that look at beauty as imperfect and incomplete. The idea behind wabi-sabi is to accept things as they are and recognize the aesthetics in their imperfection (Martin 2007, p. 15). The fundamental nature of Wabi-sabi is passing of time. It is the process and not the final product and focuses on things that are often overlooked. Modernist reductionism strips down art to its basic essential elements and gets rid of anything superfluous. However, Wabi Sabi strips an art or an object to its movement. Its supporters believe that the essence of the object lies in its life and the transience (Merino 2015, p. 4). The philosophy is that the rusts of time add to the wisdom. The character gained by an object due to the passage of time, the grime, the discoloration adds a sheen of antiquity that is original to it.
Research question The essay looks at different ways to bring Wabi-sabi aesthetics in daily life and how to recognize the elements of Wabi-sabi around us. The purpose is to look at the various ways to cultivate Wabi-sabi and how to treasure the value of the simple and imperfect.Methods of research With the modern world relying machines and mass production, needless to say, the humans are getting farther from their “being” and are ignoring the nature. Already there is a disharmony between the environment and the modern world that one lives in today. By embracing Wabi-sabi, one will learn to appreciate the presence of simple and natural things. Wabi-sabi is a welcoming acknowledgment of being imperfect. Qualitative methodologies will be used to conduct educational research and related journals on Wabi-sabi will be looked into. Direct inferences will be made from the collected studies and research on Wabi-sabi.
The concept of Wabi Sabi The concept of Wabi Sabi that is deep rooted in Zen philosophy says the opposite. Wabi stands for nature and Sabi for flaws. Thus, application of Wabi Sabi means appreciating the flaws of nature and finding perfections in imperfections.(Nestoras 2003, p. 28). The Zen monasteries promoted the principles of Wabi Sabi that soon permeated Japanese culture and favored a more natural state where nature gets appreciated the way it is (Cooper 2013, p. 3). Zen focuses on a deeper understanding of the world and trains the mind to think less and perceive the world directly and with no preconceptions. It lessens the ego and loosens the self, and urges the creativity to begin. Japanese art and architecture is very different from Western arts as there is a higher emphasis on simplicity and restraint. The homely and rough works may not look perfect to the eye, but they impart a sense of elegance or a kind of unsophisticated sophistication that lends a very familiar and earthy feel. Japanese may not wait for the cherry blossoms to be in their full bloom to admire them. Wabi denotes simplicity and symbolizes a quietness that can be applied to both man-made and natural objects. Sabi appreciates the cycles of life and refers to beauty that comes with age (Martin 2007, p. 16). Those terms focus on qualities as impermanence, asymmetry, and appreciation of the transient beauty of the physical world. Wabi Sabi term was discussed when the color trends were being discussed. The beauty of the incomplete and impermanent is the inspiration behind the color palettes that influence fashion, home decor and furniture (Halford 2002, p. 8).
Getting Wabi-sabi in our daily Wabi-sabi depicts a different kind of aesthetics and in unexpected. The rustic and desolate formless beauty creates awareness of beauty in all realms of culture and is not just limited to art. It could be poetry, rituals, architecture and consumer goods. Wabi-sabi depicts a crude faded beauty that lies in its essence. The beauty lies in the state of being rather than the subjective view of the observer. An old house with imperfect windows can bring in sunlight in a unique way. When applying wabi-sabi, it should be devoid of any symmetry and artificial look. The arrangement should look natural and carry flaws (Prusinski 2012, p. 29).One can add Wabi-sabi to the culture by simply enjoying the rusticity and simplicity of a home and the hospitality offered by the host. The use of objects showing their age with marks, cracks and imperfections perpetuated the Zen ideals of nondualist and contrasted with the Western ideal of individualism and materialism (Cooper 2013, p. 6). Wabi Sabi consciousness is based on humility, simplicity and being true to nature. Getting Wabi-sabi in our daily life begins with the appreciation of imperfect and incomplete things. It promotes attention, respects and reverence as stated by Lawrence (2011, p. 51). Its spiritual philosophy makes a place devoid of any clutter and distraction and presents beauty in the ordinary. Wabi-sabi respects age and celebrates human over the machines. It finds beauty in the imperfection of nature and accepts its cycle of growth, decay, and death. Elements like an old dining table, wishbone chairs, vintage rug, and hanging lantern add to the essence of wabi-sabi in a room. Use organic and natural materials in a room with lots of functional space. There should be a human touch and an embrace of imperfection. It could be a weathered wood that brings in a lot of character and history. The furniture should carry a kind of soulfulness to it. Wabi Sabi is against modernism that can be harsh and unnatural. Everything in a Wabi Sabi home looks comfortable and inviting. The wooden floor and furniture continue to age, and there are something incompletes about the room and yet it looks so complete (Pittel 2011, p. 100). Wabi-Sabi homes are simple and find utility even in the most simplest and discarded things; it could be an old hand made a chair or the hand egg beaters. For example, start drying the dishes with a towel and cultivate a hobby or craft like making pottery or weaving baskets. A piece made by the hands of the homeowner adds more soul. Bring solitude and peace within the home and maintain cleanliness. Lots of space and light are desirable elements of Wabi-Sabi, so de-clutter. Do no discard that antique cupboard or replace the old door knobs. Wabi-Sabi embraces the flaws of life, giving them respect and attention.
Imperfections and impermanence Wabi-sabi reminds one of their imperfections and impermanence. And motivates the art of finding beauty in imperfections of the world and learn to appreciate them. Through Wabi-sabi one learns to appreciate muted beauty and develop the courage to show imperfections. One has to look deeply to recognize and appreciate Wabi-sabi that lies in those rough textures and imperfect looks around them. Take out that rusted bowl is lying forgotten and let go of that idea of painting that chair which has its paint chipping. It is that subtle art behind that connects you with time and nature. It is a way of ebbing and a state of mind (Lawrence 2001, p. 50). The beauty of Wabi Sabi's changes with its surroundings and cannot be completely isolated from them. It is nature that creates an energy within it with every passing moment, giving it deeper notions of beauty with a reflective quality (Prusinski 2012, p. 46). An old temple with its dark and worn wooden walls, rocks covered with moss still creates a pure space and offer a rich spiritual experience. When shopping for interior spaces, most people look for perfect pieces and accessories. They believe that a balanced look will look more appealing to the eye. Osamu, a potter from Toyohashi, makes pots that look like rocks, and it is his naturalistic approach that creates the essence of wabi-sabi (Dearing 2014, p. 58). Wabi-sabi nurtures authentic and believes that nothing is perfect or lasts forever. The feather lightness of Osamu’s pots, touches you the moment you pick one of them. The senses of touch convey the lightness, glaze, and texture. Wabi-Sabi defines the most characteristic feature of the traditional Japanese beauty that is free from worldly concerns. Both Wabi and Sabi words may overlap in practical terms and are interchangeable, but carry nuanced differences. The development of the wabi-sabi aesthetics began with the spread of Buddhism (Maxwell 2000, p. 1). The idea of conventional ways of looking at things gained momentum and people learned how to appreciate a kind of beauty in the solitary and wandering lives of monks. New aesthetics were discovered in old and humble utensils, lying forgotten in house or that neglected stone lantern overgrown with moss. Gradually, the essence of wabi-sabi emerged in other Japanese art forms, poetry and became an essential spirit of the tea ceremony. A lifestyle was said to embody wabi-sabi if the traveler covered long distances with just a few possessions and stayed in simple lodgings, appreciating nature every day. Gradually wabi-sabi permeated Japanese aesthetics, and it may not be very obvious in modern Japan, but one can see and feel its influences (Maxwell 2000, p. 1).
Wabi-sabi design principles There are certain design principles to follow when incorporating in daily life. The object should be natural and organic plus free of any shiny surface and uniformity, showing the passage of time. It is the devolution that makes it expressive and attractive. It could be an old door, furniture cutlery or pottery. An artist when working on a wabi-sabi products should follow the wabi-sabi, bringing out the innate beauty of nature. There should no form or artistry followed. Wabi-sabi products carry irregularity and artlessness. When it comes to textures, the viewer should be given the chance to enjoy the randomness and imperfections of the piece, rather than tamper with the textures. Textures formed by nature are more interesting and attractive as they are rough, variegated and uneven. The true aesthetic pleasures lie beyond the conventional views of beauty. The colors and dyes used are from natural sources and are often matte and murky colors that lack uniformity. There are no embellishments, and it is the simplicity behind and making use of freely available materials that promote Wabi-sabi products. There should be significant areas of space and nothingness in the interiors. Careful and constant observation should be to maintain the physical balances found in nature. The design elements should look completely natural and unforced with no prescribed formulae or uniform shapes. There should be a humbleness and sincerity in the design work approached, keeping it both natural and functional. Wabi Sabi can express itself in pottery, theater, painting, flower arrangements, and the tea ceremony. Conclusion By examining the awareness of beauty in nature, in whatever form or look it may be, it demonstrates wabi-sabi, the beauty in the continual change and growth. By embracing the nature, one ultimately forms a harmonious atmosphere and maintain an appreciation of the role of nature. Wabi Sabi creates a harmonious balance between mankind and nature. By making simple changes in lives and the use of everyday objects, one can certainly bring in wabi sabi. It can be a challenge to realize wabi sabi completely as the art doesn’t present objects simply for contemplation. The challenge lies in viewing those objects with no mind and ego. It is not easy to acknowledge and respect the universal forces of impermanence, imperfection, and the cycle of life that is rooted in the Zen cosmic view of the universe. It is challenging to unlearn and start from the ground zero to be able to see clearly and without any intellect. After all, it is a natural tendency in one to prefer the perfect over imperfect. Those perfectly symmetrical subjects are often favored over weathered and beaten. In wabi-sabi, the artists use a meditative approach, and one has to realize the medium through which the creative art flows.
Bibliography
Cooper, T.M. 2013, " The Wabi Sabi Way:Antidote for a Dualistic Culture", Journal of Conscious Evolution, vol. 10, no. 1, pp. 1-13.
Dearing, O. 2014, Inayoshi Osamu: a wabi-sabi approach, American Ceramic Society, Columbus.vol. 1, no. 1, pp. 58-61.
Halford, Q. 2002, "Do you wabi sabi? The next feng shui hails from the Orient. It's one of the trends to be on the lookout for in 2003",Gifts & Decorative Accessories, vol. 103, no. 12, pp. 8.
Lawrence, R.G. 2001, Wabi-sabi: The art of imperfection, Ogden Publications, Inc, Minneapolis.
Lawrence, R.G. 2011, Wabi-sabi: finding the beauty and peace in ordinary things: use this Japanese philosophy to embrace authentic, useful objects and discover the sacred in the everyday, Ogden Publications, Inc. vol. 1, no. 1, pp. 51-53.
Martin, R. 2007, "Waba Sabi", Photo Life, vol. 1, no. 1, pp. 15-18.
Maxwell, C. 2000, "Wabi-Sabi, The Essentials of Japanese Aesthetics ", The Japan Foundation, Sydney, vol. 1, no. 1, pp. 1-1.
Merino, A. 2015, Wabi Sabi: Shigemasa Higashida, Ceramic Art, Paddington. vol. 1, no. 101, pp. 3-7.
Nestoras, B. 2003, "The new feng shui: finding beauty in imperfect objects is the philosophy behind wabi sabi. (Decorative Accessories)", Gifts & Decorative Accessories, vol. 104, no. 3, pp. 28.
Pittel, C. 2011, The new modern: Embracing the Japanese aesthetic of wabi-sabi: imperfect, weathered, organic, Hearst Magazines, a Division of the Hearst Corporation. vol. 1, no. 1, pp. 98-104.
Prusinski, L. 2012, "Wabi-Sabi, Mono no Aware, and Ma: Tracing Traditional Japanese Aesthetics Through Japanese History",Studies on Asia, vol. Series IV, 2, no. 1, pp. 25.
