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The hand-riven surface of slate for example, with its myriad hints of green, gray, and iron orange laying on and between the entwined layers, forms a picture in its own right. These engaging properties can be used in conjunction with other mediums, such as wood to make inlaid tabletops and other work surfaces. A sanding of the untreated surface followed by a couple of coats of oil (finishing oil works well) will leave a very attractive and durable surface. Clay Clay holds center stage in the history of wabi sabi, and although a degree of knowledge is required to mold and fire clays, there are still an abundance of interesting pieces that can be bought either new or secondhand. As discussed in the section on pottery, there is a deep rooted dedication to pottery in Japan, and every conceivable effort has been made to bring its aesthetic potential to full fruition. To undertake the study of Japanese pottery is a long-term commitment, and mastery in Japan may still be difficult to transplant to other countries. However, for those interested in finding wabi sabi pieces of pottery, there are a variety of sources that exist outside Japan, and seeking them out can indeed be an exciting affair. As wabi sabi is primarily interested in the artless and the humble, the first port of call, as with textiles, are the countries where local craft is often a substitute for modern technology. When looking for wabi sabi pottery either overseas or at home the following are guidelines on what to look for: ■ Functional rather than decorative ■ Rough and organic feel ■ Little to no defined design ■ Dark, mute colors, preferably with a natural ash glaze ■ Complexity in color and texture ■ Naturalness and ease of use We have now looked at the many different aspects of wabi sabi design, its physical and metaphysical properties, and the materials most often used, but the question still remains of how Japan’s most elusive aesthetic can be brought harmoniously into a Western framework. Bringing the feeling of wabi sabi into a modern environment is as easy as it is difficult. The first and most important aspect of wabi sabi is the mental attitude toward both art and life. It presents the enormous challenge of reassessing at the most fundamental level our attitude toward our environments, our fellow men, and ourselves. When our impermanence highlights the absolute irrelevance of material gain and when we can see our lives with a sense of humility and equanimity, then we are ready to see the beauty that lies within the subtleties. As the aesthetic grows and strengthens, we start to relish the artless and the mundane. This then extends into all aspects of life into relationships with others, our choice of occupation, and the environments we choose to live in. Slowly and without premeditation we incorporate more and more of the wabi sabi aesthetic into our living spaces until they become a natural extension of our own love of the humble and unadorned. Like the philosophy of Taoism, where wabi sabi finds its earliest roots, there is a need to approach wabi sabi design gently and with respect. The principle of wu-wei, or not forcing, is the catalyst for this slow and natural adoption of a wabi sabi view of the world. This personal journey has the potential to bring a greater harmony between the spiritual beings we are and the material world in which we live. The living environments that evolve from this understanding will help to nurture our sensitivity toward the world and to promote a deeper shared appreciation of the artistry of nature.