4

BSTC 2003
Lecture Date Topic

1 Jan 17 Introduction
Lunar New Year Jan 24 No Class
2 Jan 31 Origin and development of Zen Buddhism
3 Feb 7 The acceptance and development of Zen in Japan
4 Feb 14 Japanese aesthetic values 1
5 Feb 21 Japanese aesthetic values 2
6 Feb 28 Traditional Japanese arts.
Reading Week Mar 7 No Class
7 Mar 14 Influence on arts and literature
8 Mar 21 Influence on architecture and landscaping
9 Mar 28 Zen and design
10 Apr 4 Zen and lifestyle
11 Apr 11 Influence across the globe
12 Apr 18 Zen and contemporary aesthetics

2
§ 1.Essential concepts, practices and historical background.
§ 2.Aesthetics of Zen:
§ Philosophy and nature of beauty and taste.
§ What is consider beauty? Why pleasing?
§ Set of principles and concepts underlying the works of Zen.

§ 3.Application:
§ Architecture and landscaping;
§ Arts and literature;
§ Spirituality;
§ Design;
§ Lifestyle.

3
4
§ The difference between a flower and
a weed is judgement.
§ The mind is the basis for everything.
Everything is created by my mind,
and is ruled by my mind.
(Dhammapada Verse 1)

§ Flower or weed is just a concept.

§ Arisen from our mind.

§ That’s something we can control

according to Zen teachings.
§ Break free from preconceptions.

5
§ A branch of philosophy.
§ The nature of beauty and taste,
§ The philosophy of art.

§ It examines the judgments of

sentiment and taste. Michelangelo's David
§ What is beauty?
§ What is art?
§ What is a work of art?
§ What makes good art?
Enku’s Buddha
§ Inborn / acquired?

6
§ Subjective.
§ Experience in our minds.
§ When we engage with objects or
environments such as:
§ viewing visual art,
§ listening to music,
§ reading poetry,
§ experiencing a play,
§ exploring nature, and so on
§ Not all are considered to be pleasing and
beautiful.
§ Is this inherent, learnt or being told?
§ All these affects our judgement.

7
§ Seems to be instinctive.
§ I just like it!

§ Beauty: “Enjoyment” and

“Pleasure”.
§ Universal among human?
§ Everyone will have his/her own
opinion.
§ Past experience.
§ Shaped culturally, to a certain
extent.

8
§ Scholars have attempted general
comparisons on Eastern and
Western (classical) Art.
§ DT Suzuki suggests:
§ Oriental art depicts spirit,
§ Western art depicts form.

§ Alan Watts:
§ Western art depicts nature in terms
of man-made symmetries and super
imposed forms, squeezing nature to
fit his own ideas.
§ Oriental art accepts the object as is,
and presents it for what it is, not
what the artist thinks it means.

9
§ Aesthetics, the philosophical study of
beauty and taste.
§ Judgments of sentiment and taste,
according to Zen Buddhist worldview.
§ Zen culture’s influences on aesthetics.
§ How the culture of Zen shaped the
“definition” of beauty.
§ Subjective: what is considered to be
beautiful from the cultural perspective.
§ It is perfectly fine to say these art pieces
are terribly unpleasing!
§ Because aesthetics values are a form of
perception.

10
§ 2 important concepts (in this lecture):
§ Mono no aware 物の哀れ
§ Focus on the impermanence of things.
§ Wabi sabi 侘び寂び
§ Focus on non-self, non-attachment,
imperfection.
§ Overlapping.
§ Buddhist influences.
§ The Four Noble Truths
§ Dependent Origination
§ Impermanence
§ Non-self
§ Non-attachment
§ Emptiness

11
§ Unique Japanese concept.
§ Deep-rooted in the Japanese culture.

§ Mono no 物の / awa re 哀れ.

§ Literally “the pathos of things”.
§ “ahh-ness” of things, a sigh, an awareness,
a sentiment.
§ Not melancholic, sad, or depressing.
§ The beauty and bliss based on this
“sadness”.
§ A ineffable feeling, deep emotion within our
heart.
§ Bitter sweetness of a brief and fading
moment of transcendent beauty.
§ The “beauty” of impermanence, and
continuously changing of things.
§ Awareness of impermanence.
§ The “reality” of existence.
12
§ Pessimistic / Optimistic?
§ Buddhist concept:
§ Awareness of the fundamental condition of existence is
not a nihilistic despair.
§ But to be mindful of the present moment.
§ And to be grateful for another moment’s being granted to us.

§ Realizing impermanence, is actually blissful.

§ The philosophy of acceptance.
§ Uketamō (受けたもう) “I accept”.
§ As one will not grasp on anything by releasing oneself from
the bondage of the mind.
§ Enjoy and be mindful of the process of continuous change.
§ This is the ultimate beauty.
§ Grateful that we have live to the next moment.

§ One accepts and transcends the world of suffering.

§ Experiencing mono no aware means savouring life
more deeply.
13
§ Rooted in Japanese culture since
ancient times.
§ A term coined by Motoori Norinaga (本
居宣長 1730-1801).
§ Edo period Japanese cultural scholar.
§ Describing Heian Period (794 AD - 1185
AD) literature.
§ A concept used in his literary criticism of
The Tale of Genji.
§ Later applied to other Japanese works.
§ Central to his philosophy of literature,
and eventually to Japanese cultural
tradition.
§ In his criticism of The Tale of Genji,
Motoori noted that mono no aware is the
crucial emotion that moves readers.
§ Later on, this is not limited to Japanese
literature, and became associated with
Japanese cultural tradition.
14
§ Heian marked the beginnings of
indigenous culture development (国⾵⽂化
Kokufū bunka).
§ National style culture (国風文化 Kokufū
bunka)
§ Chinese influences were in decline and the
national culture matured.
§ Modification and adaptation of the Chinese
style (tōfū 唐風 “style of Tang”).
§ Art, especially poetry and literature were
developed in the Japanese indigenous style.
§ Byōdō-in (平等院, "Temple of Equality").

15
§ Miyabi (雅)
§ A traditional Japanese aesthetic ideal.
§ Literally “elegance”, “refinement”,
“courtliness”.
§ Express the image of the ideal
aristocratic culture.
§ The manners, language, expression,
atmosphere, feelings, nature and
other elements.
§ Eliminating roughness and crudity to
achieve the highest grace.
§ Closely connected to the notion of
Mono no aware.
§ Although things are graceful, they are
ephemeral.
§ Awareness of the transience of all
things heightens appreciation of
their beauty, and evokes a gentle
sadness at their passing.
16
§ Genji Monogatari (源⽒物語)
§ Murasaki Shikibu (紫式部 973 or 978 – c. 1014
or1031)
§ Fujiwara no Kaoruko (藤原⾹⼦)
§ Court lady, poet.

§ Considered the world's first novel.

§ Court literature.
§ Court language.
§ Fiction.

§ Narrative story of 54 chapters.

§ Understanding the culture of the aristocracy in
early Heian period.
§ Forms of entertainment.
§ Manner of dress.
§ Daily life.
§ Moral code.
§ Buddhist influence.
17
§ Hikaru Genji (光源⽒), the handsome, sensitive,
gifted courtier, an excellent lover and a worthy
friend.
§ His love stories with many ladies.
§ The beauties of the ladies and nature.

§ Depicts supreme sensitivity to human emotions.

§ Dissatisfaction in relationships.
§ Aging, sickness, and death.
§ Tied with the changing of nature (plum/cherry
blossoms).
§ Relationships, love, and life are ephemeral.
§ Sadness of changing.
§ Impermanence.

§ The beauty of this “sadness”.

18
§ Traditional Japanese thought:
§ Nothing is eternal.
§ Even for love and relationship.
§ No matter who you are.
§ Permanence of love is only an illusion.

§ Compare with some Western culture.

§ Vow, permanence, love...
§ “till death do us part”...

§ The prime of beauty only last for a

short while, that's why we have to
enjoy and make the best out of it.
§ Optimistic, do not fool yourself and
grasping of permanence.
§ Mono no aware -> “aware” of this
impermanence. 19
§ Mono no aware is often tied up
with the changing of seasons.
§ Expressed in arts, literature...
§ Expressed by many things in the
nature.
§ Kigo (季語, "season word")
§ Japanese literature, poetry
(haiku).
§ https://kigosai.sub.jp/

20
§ Spring: 4 February–5 May
§ Spring mist or spring haze (春霞
haru kasumi):
§ Plum Ume blossom (Early Spring)
§ Birds Uguisu (鶯, Japanese bush
warbler, (春告⿃, harutsugedori).
§ Cherry blossoms (sakura) and
blossom–viewing (hanami):
§ Frogs (kawazu).
§ Girl’s Day (雛祭り, Hinamatsuri)
Doll Festival and Hina (doll): a
traditional Japanese festival for
girls in March.
21
§ Sakura (桜)
§ “Flower viewing” (Hanami 花⾒).
§ Mid-Spring.
§ From South to North.
§ Blooms and fades away quickly.
§ Closely related to mono no aware
in the Japanese culture.
§ Hanami Festival at Ueno Park.
§ The Tale of Genji.
§ Design: cherry motif.
§ Japanese melodies.
§ https://n-kishou.com/corp/news-
contents/sakura/

22
§ Summer: 6 May–7 August
§ Wisteria (藤, fuji), iris (菖蒲
ayame).
§ Rainy season (梅⾬, tsuyu).
§ Shine Shine Monk Doll.
§ Tera teru bozu 照る照る坊主.
§ Hydrangea (紫陽花, ajisai)
§ Cicada (蝉, semi).
§ Late summer (July)—known for
their calls.
§ Tango no sekku (端午の節句).
§ A traditional festival for boys in
May.

23
§ Cicada (蝉, semi).
§ An insect.
§ Making a loud buzzing sound.

§ Depicted in Japanese arts, anime,

movies.
§ The coming of summer.
§ Cicada adults are short lived, and
cry out loud.
§ Although life is short, try to
make the best of what we have.

§ https://www.youtube.com/watch?
v=j-exZaBDn8g
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§ Autumn: 8 August–6 November
§ Moon (tsuki): the word "moon" by
itself is assumed to be a full moon
in autumn.
§ Insects (mushi): fireflies.
§ Harvesting:
§ Fruits: pear, peach, persimmon,
apples, and grapes.
§ Rice cropping (稲刈り, inekari): rice
harvest and related activities are
significant in Japanese life.
§ Coloured leaves (momiji):
§ Leaf-viewing (momijigari).

25
§ “Red leaves hunting”.
§ From North to South.

§ Japanese maple (紅葉 momiji,

kōyō) viewing.
§ Gradual turning of colour,
ephemeral vibe of autumn.
§ Important symbol of autumn.
§ As with sakura in spring.

§ https://n-kishou.com/corp/news-
contents/autumn/news2022.html

26
§ Winter: 7 November–3 February
§ Fallen leaves (落ち葉, ochiba) and dry
leaves (kareha):
§ Snow-viewing (雪⾒, yukimi).

§ Fugu soup (fugujiru), anglerfish or

sea-devil stew (ankō nabe), oyster
(kaki): seasonal dishes.
§ New Year's Eve (⼤晦⽇, ōmisoka), and
the New Year's Eve party (年忘れ,
toshiwasure).

27
§ Kawabata Yasunari, (川端康成1899 -1972).
§ First Japanese to receive the Nobel Prize for
Literature.
§ The Old Capital (古都), Snow Country (雪国),
Thousand Cranes (千羽鶴).
§ Ozu Yasujirō (小津安二郎, 1903-1963)
§ Japanese screenwriter.
§ Well-known for expressing mono no aware in
his works.
§ An Autumn Afternoon (秋刀魚の味, Sanma no
aji, “The Taste of sanma”).
§ Tange Kenzō (丹下 健三, 1913 – 2005)
§ Pritzker Prize for architecture.
§ Tokyo Metropolitan Government Building.

§ Araki Nobuyoshi (荒木 経惟, 1940-)

§ Japanese photographer & artist.
28
§ Studio Ghibli (スタジオジブリ)
§ Grave of the Fireflies 1988.
§ (⽕垂るの墓, Hotaru no Haka).
§ Fireflies.
§ Based on the novel.

§ Tale of Princess Kaguya 2013.

§ (かぐや姫の物語, Kaguya-hime no
Monogatari).
§ Cherry blossoms (sakura).
§ Based on the 10th century work The Tale
of the Bamboo Cutter.

29
§ Traditional Japanese
colours.
§ Collection of colours
traditionally used in art,
literature, textiles, and other
arts and crafts.
§ The names have vibes of
“mono no aware”.
§ Nature and season related.

§ https://nipponcolors.com/

§ https://www.colordic.org/w

30
§ Fuyu-gaki
§ Winter persimmons.

§ Tsuki-yo

§ Moonlit-night

§ Sense of “mono-no-aware” in
writing.

31
§ 2 important concepts:
§ Mono no aware 物の哀れ
§ Focus on the impermanence of things.
§ Wabi sabi 侘び寂び
§ Focus on non-self, non-attachment,
imperfection.
§ Overlapping.
§ Buddhist influences.
§ The Four Noble Truths
§ Dependent Origination
§ Impermanence
§ Non-self
§ Non-attachment
§ Emptiness

32
§ Rooted in the Japanese culture.
§ Probably from the Tang/ Sung culture.
§ From Chinese Zen masters?
§ Chinese literati?

§ The aesthetic idea was popularized and

propagated through tea ceremony in the
samurai period.
§ Sadō/chadō (茶道 "The Way of Tea") or cha-no-
yu (茶の湯).
§ Higashiyama culture (東⼭⽂化, Lecture 3).
§ Distinctive style of tea ceremony know as wabi
cha (wabi tea 侘び茶)
§ Tea drinking should be spiritual and elegance.
§ Not for boasting.
§ Tea was used for boasting of power and wealth
among the warrior class.

33
§ Murata Jukō (村⽥珠光, 1423–1502).
§ Studied Zen under the priest Ikkyū Sōjun ⼀休宗純.
§ Employed by the shōgun Ashikaga Yoshimasa (8th)
as a tea master at the Ginkaku-ji?
⁞
§ Takeno Jōō (武野 紹鴎, 1502–1555)
§ Sen no Rikyū (千利休, 1522 –1591)
§ Sen no Sōtan (千宗旦, 1578–1658)
⁞
§ Gone through a number of development in the
Momoyama period.
§ “Wabi cha” style.
§ Predominated style even until nowadays.

34
れ く 候 歎 ら た み の か を る あ ⼤ 初 事 を こ 古
し ︑ ︒ く か ︑ て 味 る 持 ︶ る 事 ⼼ ど ば の 市
な ⼼ ま 所 ふ さ ︑ わ る ち る べ は の も そ 道 播
り の た ︑ べ は 後 い ︵ て と き ︑ 物 な ね ︑ 磨
︒ 師 は 肝 か あ ま を 枯 ︑ 申 こ 和 を り み 第 法
と ︑ 要 ら れ て よ る ⼈ し と 漢 ば ︒ ︑ ⼀ 師
は 我 に ず ど 冷 く る も て な こ ︑ 功 初 わ
な 慢 て 候 も え 知 ︶ 許 ︑ り の い 者 ⼼ ろ
れ な 候 な ︑ 痩 り と さ 初 ︒ 境 か に の き
︑ く ︒ り ⼀ せ て い ぬ ⼼ ま を に は 者 事
⼼ て た ︒ 向 て ︑ う た の た 紛 も 近 を は
を も だ い か こ ⼼ こ け ⼈ ︑ ら 育 つ ば ︑
師 な ︑ か な そ の と く 体 当 わ つ き ⾒ ⼼
と ら 我 様 わ ⾯ 下 は ら が 時 す べ て 下 の
せ ぬ 慢 の ぬ ⽩ 地 ︑ む ︑ ︑ こ き ⼀ す 我 珠
さ 道 我 ⼿ ⼈ く に よ こ 備 ひ と 事 ⾔ こ 慢 光
れ な 執 取 体 あ よ き と 前 え ︑ な を と ・
︑ り が り は る り 道 ︑ 物 か 肝 り も ︑ 我
と ︒ 悪 ⾵ ︑ べ て 具 ⾔ ︑ る 要 ︒ 歎 ⼀ 執
古 銘 き 情 道 き ︑ を 語 信 ︵ 肝 こ き 段 な
⼈ 道 こ に 具 な た 持 道 楽 冷 要 の ︑ 勿 り
も に と て に り け ち 断 物 え ︑ 道 ま 体 ︒
い い に も は ︒ く ︑ な な 枯 ⽤ の た 無 功
わ は て ︑ か ま ら そ り ど ⼼ ⼀ ︑ き 者
35
︒
Murata Jukō to Furuichi Harima (1452–1508):
§ In the Way of Tea,
§ Nothing will hinder you more than arrogant and attachment of the self.
§ Jealous of other tea masters or looking down on beginners is superficial and meaningless.
§ Instead, one should study from the skilled masters and guide beginners.
§ One must not discriminate among Japanese and foreign art objects.
§ These days those inexperienced snob Bizen and Shigaraki wares, pretending that they have
a deep understanding of the ‘chilled and withered’ aesthetics they embody. These elite tea
community has just a shallow understanding of the way.
§ The aesthetic of the tea wares originates from one’s heart and not from obsession with
objects. Then from the heart one truly uncovers the beauty.
§ One should cultivate humility. Remember that arrogant and attachment of the self are
obstructions.
§ Yet the Way is unattainable if there is no self-esteem at all.
§ “Become master of the heart (mind), not the heart (mind) as the master.
§ Message: Humbleness and non-attachment. Controlling one’s mind.

36
§ Cha-no-yu became a very important social and political
event for the ruling class.
§ Gathering and networking.
§ Boasting their power and wealth.

§ As “fancy” and “perfect” as possible.

§ The Golden Tea Room (黄金の茶室 Ōgon no chashitsu)
was a gilded tea room constructed for Hideyoshi's tea
ceremonies.
§ Collected prized tea bowls and utensils.
§ More precious than gold.
§ Kara mono (Chinese ware 唐物).
§ Jian ware 建窯 (the Jian kiln of Tang and Sung)
§ Tenmoku (天目) bowls.
§ In the Sung dynasty they achieved a high prestige,
especially among Buddhist monks and in relation to tea-
drinking.
§ Brought to Japan during Sung period. They were also
highly valued in Japan.
§ Owning of expensive tea wares (chadogu 茶道具) and tea
houses were indication of high social status.

37
§ Sen no Rikyū (千利休, 1522 -1591), is considered
the most profound influence on the Japanese "Way
of Tea".
§ Rinzai Zen training.
§ Wabi-cha.
§ Treasured Murata Jukō’s teachings.

§ Advisor/ Tea master for Oda Nobunaga (織⽥信⻑)

and Toyotomi Hideyoshi (豐⾂秀吉).
§ Leading figures in the Sengoku period (戦国時代).

§ Tea drinking should be in a philosophical manner.

§ Zen thoughts: undecorated and the humble.

§ Rikyū reformed several key aspects of the ceremony:

§ Focus on modest simplicity, directness of approach and
honesty of self.
§ The aesthetics of wabi-cha further extended to many
aspects of the Japanese culture.
§ Developed into the concept of wabi-sabi.
38
§ Central to tea ceremony.
§ Harmony (和, wa),
§ Host and guest, the nature, and utensils.

§ Respect (敬, kei),

§ Humbleness to others and utensils
(regardless of the price).
§ Purity (清, sei),
§ Treat oneself and others with a pure and
open heart.
§ Tranquillity (寂, jaku).
§ The point in one's training and practice
where a level of selflessness is reached.

39
§ Wabi-sabi — wabi, simplicity/ sabi, an
appreciation of the imperfect.
§ The aesthetics of wabi cha applied to other things.

§ Refrain from arrogance and self-attachment.

§ The aesthetics of the undecorated and the
humble.
§ VS exaggeration and excessive pride.

§ The spirituality is more important the

materiality.
§ Do not bound by the worldly convention. “Peer
pressure”.
§ Tranquility as a goal.
§ Not bragging around with material possession.

40
§ The beauty of things as “imperfect, impermanent,
and incomplete”:
§ Quite abstract.
§ Categorized into the following for easy understanding:

§ Fukinsei (不均斉): asymmetry, irregularity;

§ Kanso (簡素): simplicity;
§ Koko (考古): basic, weathered;
§ Shizen (自然): without pretence, natural;
§ Yūgen (幽玄): subtly profound grace, not obvious;
§ Datsuzoku (脱俗): unbounded by convention, free;
§ Seijaku (静寂): tranquillity, silence. Leonard Koren

41
§ Symmetry is important in many
other aesthetical systems, but not
in wabi-sabi.
§ Imperfection.
§ Do no grasp on perfection.
§ Suffering.
§ E.g. 100% GPA 4.3, perfect b/gf.
§ Remind ourselves imperfect has its
beauty.
§ Accept our imperfection.
§ Appreciate our imperfection.
§ Utilize of our imperfection.
§ This is what make us unique.

42
 vs
Kenroku-en (兼六園), Ishikawa

43
§ Nothing fancy!
§ Do not focus on external luxury
materialistic as pleasure.
§ Do not attached outer forms.

§ But focus on insights (Buddha

nature) where the true bliss
belongs.
§ Keep things simple, do not
overlook the main point
/purpose of an object.

44
§ Made of natural material,
§ Earthenware vs Porcelain

§ Colour,
§ Decoration, Cutlery set by Sori Yanagi

§ Price
§ Made for general use,

§ Focus on the object’s

functionality.

45
Cutlery set by Tiffany
§ The style of painting favored by
Zen artists makes use of a brush,
black ink, and either paper or silk.
§ To express the purity and
simplicity.
§ Zen art does not try to create the
illusion of reality.
§ It abandons “real life” perspective.
§ Works with artificial space
relations (empty space, ma 間),
which make one think beyond
reality into the essence of reality.

46
§ Impermanence.
§ Arrogance is meaningless.
§ Birth, old age, sickness, and death.
§ Aging is a natural process.

§ Accept and appreciate as beauty.

§ Small, rustic, undecorated,
humble...
§ The “patina” is highly valued.

47
§ Pottery
§ Anagama kiln (穴
窯 firing method)
§ Originated and
China, brought to
Korea and Japan
in the 5th century)
§ Fuelled with
firewood.
§ 1400 ℃ for 2 -12+
days.

48
§ Taoist thoughts.
§ In harmony with the nature.
§ Mimics the natural scenery.

§ Lao Tze:

Man Follows the Earth. Earth

Follows Heaven. Heaven Follows
the Tao. Tao Follows What Is
Natural
人法地 地法天 天法道 道法自然

49
§ Taoist worldview.
§ Man is not the centre of the
universe.
§ Harmony with the nature.
§ Heaven, earth, and human (3 as a
sacred number).
§ Floral arrangement (ikebana).
§ The shin (truth) branch, the soe
(supporting) branch and the hikae
(moderating) branch.
Symbolizing heaven, earth, and
human in harmony.

50
§ Wood.
§ Japanese paper (washi 和紙).

§ Clay.
§ Béton brut “raw concrete”.

§ Natural Dye.

§ Natural fibre.
§ Wild flowers (⼭野草).

§ Hand-made.

51
§ In the Chinese
philosophical texts the
term was taken from,
yūgen meant "dim",
"deep" or "mysterious".
§ Yūgen suggests that
which is beyond what
can be said.
§ Feeling,
§ Mysterious and
ineffable.

52
§ Creating mysteriousness by
light and shadows.
§ The ambient of the noh stage,
the masks...
§ Tadao Ando Church of Light in
Osaka.
§ Genkō-an 源光庵 in Kyoto.

53
§ Uncertainty, confused, mystery of
change, “spooky”... disturbing...
§ In our life, we will never see the whole
picture of actuality.
§ The future cannot be predicted and
grasped.
§ Do not grasp / think too much.
§ Otherwise we will be in a constant fear
and distress.
§ Appreciating and accept this
unknown.
§ Life is full of unknown, enjoy our
journey.
54
§ Free from worldly convention.
§ Wealth, fame...

§ Free from preconceptions.

§ Solving problems using an
indirect and creative approach
without using only traditional
logic.
§ Break free from bondage.
§ Concept of Shu-ha-ri (守破離).

55
§ The goal.
§ The aesthetic elements will bring
tranquillity.
§ Not about excitement.

§ As an object of meditation.
§ Calming effect.
§ Still your “monkey mind”.

§ The aim of Zen practice.

56
§ Kare-sansui (枯山水)
§ Kare-sansui, or Zen rock garden, is probably the most popular Zen
art. Kare-sansui does not rely on greens or water to let beautiful
garden emerge. Instead, it lets boundless beauty emerge from the
absence of those elements.
§ Tea-ware (pottery)
§ Sen no Rikyu promoted tea-ware according to Zen philosophy,
which featured asymmetry, uneven ash glaze, repaired, rustic, and
inexpensive.
§ Haiku
§ Japanese poetry about the nature which could bring wabi-sabi.
§ Bonsai (盆栽)
§ Bonsai is an art of condensation. By re-producing immense nature
in a palm-sized cosmos, bonsai lets us to appreciate the essence of
beauty.

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§ Asymmetry;
§ Simplicity;

§ Weathered;
§ Natural;

§ Subtleness;

§ Unbounded by
convention;
§ Tranquility.

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§ Asymmetry;
§ Simplicity;

§ Weathered;
§ Natural;

§ Subtleness;

§ Unbounded by
convention;
§ Tranquility.

Raku bowl by Chojiro, Raku Museum, Kyoto

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§ Asymmetry; 5/7/5
§ Simplicity;

§ Weathered;
§ Natural;

§ Subtleness; Old pond,

frog leaps in,
§ Unbounded by water's sound.
convention;
§ Tranquility. 古池や 蛙飛び込む 水の音
furu ike ya / kawazu tobi komu / mizu no oto

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§ Asymmetry;
§ Simplicity;

§ Weathered;
§ Natural;

§ Subtleness;

§ Unbounded by
convention;
§ Tranquility.

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§ Lecture 5
§ Japanese aesthetic values.
§ Mono-no-aware (物の哀れ)
§ Wabi-sabi (侘寂)
§ Yūgen (幽玄)
§ Ma (間)
§ Shibui (渋い)
§ Iki (粋)
§ Jo-ha-kyū (序破急)
§ Shu-ha-ri (守破離)
⁞

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