The rustic charm of tea utensils or the serene beauty of a tranquil garden — these are often described using the term ‘Wabi-sabi.’ While it evokes a sense of something quintessentially Japanese, its true meaning can be elusive. In this article, we explore the origins of ‘Wabi-sabi’ and its connection to tea ceremony, Japanese gardens, and more.
What exactly is Wabi-sabi?
Wabi-sabi represents a uniquely Japanese aesthetic, often associated with simplicity, tranquillity, and an appreciation for imperfection. However, it is, in fact, a combination of two distinct concepts: wabi (侘び) and sabi (寂び), each carrying its own meaning. Let’s begin by examining the meaning of each term.
The meaning of wabi
Wabi (侘び) is the noun form of the verb wabu (わぶ). According to the Shinsen Kokugo Jiten (新選国語辞典, 9th edition), it carries the meanings:
A state of desolation or sorrow; being troubled or lamenting.
A spirit of calm, quiet, and simplicity, particularly associated with haikai (俳諧) poetry and the tea ceremony.
Originally, wabi referred to ‘a state of sorrow or anguish stemming from unfulfilled desires or worries.’ However, from around the Muromachi period, its meaning evolved to reflect a more positive outlook: the acceptance of circumstances such as disappointment or poverty (a state of hardship due to significant material or financial scarcity) and a proactive effort to find peace within them.
It became a word expressing a spiritual richness—the ability to embrace one’s situation without despair and instead find joy in it.
The meaning of sabi
Sabi is the noun form of the verb sabu (さぶ). According to the Kogo Daijiten (古語大辞典, Ancient Japanese Dictionary), it is described as:
‘One of the quintessential aesthetic principles of Japanese classical arts. A complex beauty that combines a sense of subdued simplicity and the melancholy it evokes. Rooted in the awareness of impermanence and solitude, it was valued across various genres, including waka, renga, and tea ceremony.’
To put it more simply, sabi can be understood as ‘the beauty felt in age, stillness, and the weathered elegance of things.’
The term sabi has been in use since ancient times. For instance, Fujiwara no Toshinari (藤原俊成), a late Heian to early Kamakura period poet, incorporated sabi into his waka during uta awase (歌合, poetry contests where poets were divided into two teams, and their works were compared to decide the winner).
Unlike the spiritual focus of wabi, sabi is a concept that appreciates the external transformation of things, reflecting their inner essence through the passage of time.
Over time, the aesthetic of Wabi-sabi became intertwined with Zen (禅) Buddhism, which was introduced from China. From the Muromachi period onwards, Zen’s emphasis on seeking the essence of things spread among the samurai and intellectual classes. This influence extended to cultural aspects, such as kare sansui (枯山水, dry landscape gardens), where elements like rocks and raked sand symbolised flowing water.
How to use use the phrase Wabi-sabi
Now that we understand the meanings of wabi and sabi individually, let’s explore how these concepts are applied in practice.
When do we use ‘Wabi-sabi’ ?
・Temples and Shrines: When admiring old wooden structures, you may notice weathered decorations or verdigris (the greenish patina that forms on copper). In such cases, you might say, “This tranquil temple, though lacking in lavish ornamentation, evokes a sense of Wabi-sabi charm.”
・Moss on Stone Basins: Observing moss growing on a tsukubai (蹲, stone basin), you might not only appreciate its green beauty but also reflect on the time it took to grow. The enduring nature of stone, which changes little even after decades, might give you a sense of stability. In this context, you could express, “This tsukubai exudes Wabi-sabi, and gazing at it brings a sense of calm to my heart.”
・Falling autumn leaves: When the vibrant colours of autumn leaves begin to fade and fall, you may feel a poignant sense of impermanence, imagine the loneliness of bare branches, and anticipate the harshness of the coming winter. This might prompt you to say, “The brilliance of these autumn leaves and their fleeting fall evoke a sense of Wabi-sabi.”
As seen in these examples, Wabi-sabi is often used to describe phenomena or spaces that quietly stir our emotions, bringing a sense of reflection or calm.
The connection between japanese culture and Wabi-sabi
Now that we’ve gained a sense of how Wabi-Sabi is used in everyday life, let’s explore its ties to Japanese culture by focusing on key figures associated with this aesthetic.
Sen no Rikyu and ‘Wabi’ in the tea ceremony
When people think of Wabi-sabi, the tea ceremony often comes to mind. But where does connection come from?
During the Muromachi period, among the aristocracy and samurai class, chanoyu (茶の湯, the tea ceremony) became popular as a form of art appreciation that focused on collecting luxurious Chinese tea utensils (karamono, 唐物. However, from the mid Muromachi period onwards, figures such as Murata Juko (村田珠光) and Takeno Joh-oh (武野紹鴎) developed a new tea ritual using simpler, quieter tools. This became known as wabi cha (侘茶).
Murata Juko left behind the phrase, ‘Tsuki mo kumoma no naki wa iya nite soro’ (月も雲間のなきは嫌にて候, I dislike the moon that shines unclouded). He believed that a moon intermittently obscured by clouds was more beautiful than a perfectly radiant full moon. This reflects the spirit of enjoying incomplete beauty, which he advocated through wabi cha.
Takeno Joh-oh, a prominent merchant from the international trading city of Sakai, further refined Juko’s chanoyu. Joh-oh’s student, Sen no Rikyu (千利休), transformed wabi cha into its most profound form. Rikyu emphasised the emotional exchange between participants, creating a heightened sense of tension in the tea ceremony. His creative vision also led to the invention of numerous tea utensils, showcasing a level of originality previously unseen in chanoyu. Through these innovations, Rikyu brought wabi cha to its ultimate expression.
By the Edo period, wabi in the context of the tea ceremony was established as a fundamental aesthetic principle. Tea masters actively sought to define its meaning and incorporate it as a core element of their practice. Interestingly, the term wabi cha itself first emerged during this time.
Matsuo Basho and ‘Sabi’ in haikai poetry
Matsuo Basho (松尾芭蕉), renowned for his haiku (俳句) such as ‘furuike ya kawazu tobikomu mizu no oto (古池や蛙飛び込む水の音, an old pond / a frog leaps in / the sound of water’ and ‘shizukasa ya iwa ni shimi iru semi no koe (閑さや岩にしみ入る蝉の声, silence / seeping into the rocks, / the cicadas cry),’ incorporated Wabi-sabi into his poetry, leaving a profound impact on the haikai (俳諧) world, which at the time favoured more flamboyant styles.
One of Basho’s disciples, Mukai Kyorai (向井去来), wrote in ‘Kyoraisho (去来抄)’ that ‘Sabi is the colour of a poem.’ This indicates that sabi reflects the poet’s emotional state, something Basho actively pursued in his work.
Kobori Enshu and ‘kirei sabi’
Kirei sabi (綺麗寂び) is a concept of beauty in tea ceremony aesthetics developed by Kobori Enshu (小堀遠州) during the early Edo period. A samurai and tea master who studied under Sen no Rikyu and Furuta Oribe (古田織部), Enshu lived through the turbulent transition from the Toyotomi (豊臣) to the Tokugawa (徳川) era, creating a fresh interpretation of tea ceremony aesthetics by combining its traditions with the vibrant court culture.
The refined and uplifting aesthetic introduced by Enshu became known as kirei sabi. Over his lifetime, Enshu held more than 400 tea gatherings, welcoming guests from all walks of life, including daimyo (大名), kuge (公家, courtiers), hatamoto (旗本, samurai retainers), and chonin (町人, townsfolk) — altogether hosting over 2,000 attendees.
The world of Wabi-sabi resonates across a wide range of fields, from everyday experiences of nature to architecture, tea ceremony, and literature, demonstrating its enduring and universal appeal.
Worldwide recognition of Wabi-sabi
The term Wabi-sabi is now widely used in English. It is often used by visitors to Japan when describing their impressions of the country or as a symbolic phrase when introducing Japanese culture abroad. To conclude, let’s explore some key individuals who played significant roles in spreading the concepts of Wabi-sabi and Zen to the world through their writings.
The first is the Japanese thinker Okakura Tenshin (岡倉天心). In his book The Book of Tea, he delves into the Japanese tea ceremony, linking it with Zen, Taoism, and kado (華道, flower arranging) while offering insights into the Japanese spirit.
The second is Bernard Leach, a potter deeply involved in Japan’s Mingei (民藝, folk crafts) movement. In his influential work The Unknown Craftsman: A Japanese Insight into Beauty, he provides a thoughtful explanation of wabi and sabi, sharing their essence with a global audience.
Next is Leonard Cohen, a writer and editor. In his book Wabi-sabi for Artists, Designers, Poets & Philosophers (Japanese title: わびさびを読み解く), cohen attempts to articulate the concept of ‘Wabi-sabi’, which had not been clearly defined until then. He explores this aesthetic sensibility by comparing it with modernist ideas and providing a framework for understanding its essence.
The fourth figure is Suzuki Daisetsu (鈴木大拙), a Buddhist scholar who introduced Zen to the world. After studying Zen under Shaku Soen (釈宗演) at Engakuji (円覚寺) Temple, he travelled to the United States and authored over 20 books on Zen in English, making the philosophy widely known. His works, such as Outlines of Mahayana Buddhism (Japanese title: 大乗仏教概論), and his lectures on Buddhist philosophy and Zen at prestigious universities like Harvard and Princeton played a pivotal role in sparking the global ‘Zen’ movement.
Finally, we have Steve Jobs, one of the co-founders of Apple Inc. Deeply influenced by Zen, he regarded a Soto (曹洞宗) Zen monk as his mentor. The products he created are a testament to his pursuit of refinement, strongly reflecting Zen aesthetics. His profound engagement with Zen is detailed in his biography, Steve Jobs by Walter Isaacson, helping to convey his philosophical ethos to the world.
Through the contributions of these individuals, the concept of ‘Wabi-sabi’ as a cornerstone of Japanese aesthetics has continued to gain recognition and appreciation worldwide.
References: Shin sen kokugo jiten (新選国語辞典), 9th edition, Shogakukan (小学館)
Kogo daijiten(古語大辞典) (Compact Edition), Shogakukan (小学館)
This article is translated from https://intojapanwaraku.com/rock/culture-rock/13279/
