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The pygmies in the central African rain forests sharpen all of their front teeth to points to enhance their beauty, while in Japan it was an ancient custom for women to blacken their teeth. That small feet were considered alluring in China is now an idea that is a little hard to relate to in the West, and how might renaissance painters have captured the heroin chic image of semi-emaciated, ashen-faced supermodels recently in vogue with the glossies? Even in the very limited arena of physical human appearance our ever-shifting tastes show the difficulties in applying any sort of standard or yardstick to the idea of beauty. Fads and fashions come and go, but it is individual people who must decide the artistic value of something as all beauty lies in the sphere of perception. The perception of beauty, whether visual, audio, or tactile, forms the fundamental building blocks of art. The herd instinct that underscores man’s status as a social animal seeps from our every pore and its influence is clear in the field of aesthetic appreciation. Values are slowly developed as we are encultured by our surroundings, and these values also include those of aesthetic judgment. The Japanese, who have one of the world’s most homogeneous societies, also have a very strong convergence of opinion on matters of taste. There is a significant if not overriding element of learning in the process of art appreciation that becomes ever more pronounced in the age of media dominance. And yet, despite this factor or learning, there are still many in the West who seem to have an intuitive liking for things wabi sabi, even if they are completely unfamiliar with the Japanese ideology. Although all people are indeed different, with cultural backgrounds playing a large role in defining what people perceive to be beautiful, there seem to be some elements of visual aesthetics that bridge the gap between the different cultures and allow for a tentatively objective view of a shared aesthetic ideal. These elements might include balance, color, proportion, texture, or resemblance to naturally occurring phenomena, and when combined can provide some sort of guidelines for the production of work that might be considered pleasing to the eye. Mathematicians have invested great efforts to try and break the code of beauty and to find the complex formula that may somehow underlie these shared aesthetic values, but for the time being they remain just theories. Theories come and go, but in putting the appreciation of wabi sabi beauty into historical perspective, it is interesting to note that the ideas of taste advocated by Sen no Rikyu have remained almost unchanged for half a millennium, and the appreciation of wabi sabi doggedly remains despite the huge changes in culture and social values. Why has this style survived when almost all others of the same era have been relegated to art history? It may well be a testament to the fact that the beauty of wabi sabi will, because of its profound artlessness and purity, always strikes a chord in the spirit of man, affirming our insignificance in a world in constant flux. Design Principles of Wabi Sabi When we see something grandiose or physically impressive like the Eiffel Tower, we are moved to a feeling of awe and wonder. How, then, can a person be moved by a single flower in an old bamboo vase? How can this simple expression enable a person to experience a heightened sense of himself and his environment? There is something in the flower arrangement that manages to condense, into something so utterly simple, a reflection of existence and our lot as human beings. The flower may be just coming into blossom and so signify the force of life, while the vase may be deformed or split showing the signs of decay that define the inevitable path traversed by all things organic. These thoughts may not be verbalized, but something within is touched by the knowledge that we, too, are part of the coming and going of life, and as certainly as we have enjoyed the vigor of youth, we will grow older and move toward the winter years. Zen monks and tea masters were aware of the effect a well designed room or garden could have on one’s psychological well being and made every effort to fine tune their arts to maximize these positive effects. In the modern world, where design reflects the prevalent material aspirations, we live and work in areas that show scant regard for our spiritual nature. Most modern designs lack intimacy, and production costs and shrewd marketing schemes play the dominant role in defining our living spaces. As an ideology detached from the commercial world, wabi sabi provides an alternative to these poorly designed and mass-produced environments. It can rekindle the dwindling awareness of our own spirituality and bring back a sense of what it means to be human in such an awe-inspiring world. This section will look at the different attributes of wabi sabi and go on to suggest how people living in the West might be able to benefit from the wisdom of the old Zen sages. Physical and Metaphysical Properties of Wabi Sabi Heralding from a different cultural milieu complete with a radically different cosmic view, wabi sabi presents, in its alien nature, a rather tricky aesthetic to actually analyze within a Western framework. And there is always the danger that over intellectualization, the very thing that it is trying to avoid, will diminish the potential that it hints at. Nevertheless there are certain physical and metaphysical themes that are generally present in most expressions considered to be wabi sabi. Unlike many Hellenic-inspired concepts of beauty, wabi sabi has nothing to do with grandeur or symmetry; on the contrary, it requires that one should observe, with the utmost attention, the details and nuances that are offered to the keen eye. For it is in these almost imperceptible details that one can find the visual treasures that lie at the heart of wabi sabi, and it is through them that one might be able to catch a glimpse of the serene melancholy that they suggest. The scope of wabi sabi expression is vast and need not be limited to just the visual arts. Poetry, theater, and music are also mediums capable of instilling a sense of wabi sabi, and as is befitting of a Zen-inspired aesthetic, there are no hard-and-fast rules for the physical qualities of wabi sabi. Indeed, one of its underlying tenets is a quest for the unique and unconventional. However, if one had to suggest one common thread that is able to link all wabi sabi expressions, then it might be said that those sensitive to its mood should, when coming into contact with wabi sabi expressions, find themselves touched in an indefinable yet profound way. They have a sensation of yearning for something that defies articulation and a sense of peace brought by the reaffirmation of our impermanence. In the following section we look at some of the properties of wabi sabi design and how they embody the underlying philosophical ideology. Organic It is important that some part of every piece of wabi sabi art is organic in nature, whether it be clay, wood, textile, or any other naturally occurring material. The tides of time should be able to imprint the passing of the years on an object. The physical decay or natural wear and tear of the materials used does not in the least detract from the visual appeal, rather it adds to it. It is the changes of texture and color that provide the space for the imagination to enter and become more involved with the devolution of the piece. Whereas modern design often uses inorganic materials to defy the natural aging effects of time, wabi sabi embraces them and seeks to use this transformation as an integral part of the whole. This is not limited to the process of decay, but can also be found at the moment of inception, when life is taking its first fragile steps toward becoming. Design criteria: ■ No shiny, uniform materials ■ Materials that clearly show the passage of time ■ Materials whose devolution is expressive and attractive Freedom of Form The form of the piece should be personal and intimate with little attention given to symmetry or regularity. Unlike primitive art, which shares many of the features of wabi sabi art, it is rarely symbolic in any way. The form of the piece is usually dictated by the properties of the material used and the function it provides. An example of this is a bamboo vase. Nature has already provided the shape; it is up to the craftsman to select the most attractive section and to cut it according to the size required. Form should not be a purely conceptual idea of the artist, as this may lead to the involvement of personal tastes moving the work away from artless toward artful, and thus away from the true spirit of Zen. When being formed, it is important that the artist should be devoid of thought and in tune with the natural rhythms of life. Intellectual ideas of art and beauty are to be discarded as the artist strives to bring out the innate beauty found in nature. Although one can get a feeling of wabi sabi from naturally occurring phenomena, it is usually the act of framing by an artist that brings the poignancy to the attention of others. As well as making something from scratch there is an abundance of good resources in antiques or secondhand markets, in the countryside, or even on the beach. When a taste is acquired for things wabi sabi, the world can turn into a very interesting place, full to the brim with creative potential. A well-balanced piece of driftwood can add a wonderful touch to an otherwise minimal interior, and all that may be required is the mounting of the piece on the wall or on a tabletop. Quite often what is not added is more important than what is.