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wabi.pptx
1. Wabi as the prominent Philosophical
Concept in Japanese Culture
_Focusing on Aware, Mujō and Wabi-Sabi_
by
Prof. Dr. Lé Lé Wynn
Department of Philosophy
University of Yangon
2. To have more understanding about the significant
characteristics of Japanese culture through the special
focusing on the philosophical concept of Wabi.
To have more understanding about the Japanese ways of
adaptation to exotic cultural influences.
To have more understanding about the Japanese culture.
Objectives
3. Shintō is the foundation
stone of Japanese culture,
and it played as an
important role of the
Japanese aesthetics.
Shintō is basically a
pantheistic or animistic
religion that believes in
the existence of Kami
(god) in practically every
natural object or
phenomenon.
Natural object such as
waterfall, pond, giant tree,
strangely shaped rock, was
itself a kami or a place
indicating the existence of
kami which was marked off
as sacred place.
In Shintō tradition, the
concept of modest and humble is
appreciated as an essential quality
for representing the simple,
artless, or unsophisticated beauty
of nature.
Indigenous Thought in Japanese Aesthetics
In comparison
with gorgeous
architectural style
of Buddhist
temple, Shintō
shrine is simple,
artless, and rustic.
4. The West
Treasury of
Inner Shrine
within the Ise
Shrine complex
(Mie prefecture,
Honshu). It is
said to date
from the 3rd
century. It is
razed and
rebuilt every 20
years.
Izumo Shrine,
national treasure,
preserves more
than 1500 years
of tradition. It
was last rebuilt
in 1744.
6. Transition from AWARE to WABI
AWARE
Based on the Indigenous Shintō while under
influence of Buddhist Culture)
Popular Aesthetic Concept in Heian
Period (794-1192)
MUJŌ
A Buddhist term expressing the doctrine of
Impermanence, transience, mutability)
It has been major theme in medieval
literature (mid- 12th _16th centuries
SABI
quiet simplicity / an antique look/
solitary/ lonesome
WABI
The Beauty to be found in poverty and
simplicity
Syncretic Aesthetic Concept of Shinto
and Buddhism
The most popular aesthetic concept in
Edo period (1603_1867)
(1)Sadness (2)Pathos
(3)
Perishability
(4)
Momentary
8. Originally Mujō is a Buddhist term expressing the doctrine that
everything that is born must die and that nothing remains
unchanged.
Japanese have traditionally been keenly aware of the
impermanence of things, and the sense of mujō has been a major
theme in medieval literature.
The Japanese were keenly aware that without the mortality
(perishability of love or things) there could be no beauty.
Thus, the Japanese expressed their preference for varieties of
beauty which most conspicuously betrayed their impermanence.
MUJŌ or Impermanence
9. The Role of MUJŌ
in Japanese Culture
Hanami, flower viewing or cherry-blossom viewing, is an illustrative
example of this aesthetic concept. It is one of the most popular events
of the spring. The blooming period of their favourite flower cherry
blossom is so poignantly brief and the danger that the flowers may
scatter even before one has properly seen them is so terribly great.
The samurai was traditionally compared to the cherry blossoms, and
his ideal was to drop dramatically, at the height of his strength and
beauty, rather than to become an old soldier gradually fading away.
Momijigari, viewing autumn maple leaves, is an another illustrative
example of appreciating the concept of mujō. It is a popular event of
the autumn. In Japan, autumn itself and its seasonal feature of tinted
leaves are recognized as a symbol of impermanence. Though the
yellowish or reddish leaves are beautiful for seeing, these are withered
leaves and ready to fall down. Representing the impermanent nature of
all things.
10. The Concept of Impermanence in
Shinto-Buddhist Sense (WABI)
New connotations of Wabi
Sen no Rikkyū who sought to elevate their art by associating
it with the spirit of Zen and stressed the importance of
seeking richness in poverty and beauty in simplicity.
Wabi as Poem
Fujiwara no Sadaie has been cited as suggesting the essence of
Wabi: As I look afar
I see neither cherry blossoms, nor tinted leaves
Only a modest hut on the coast in the dusk of autumn
nightfall.
Fundamental Principles in WABI
Aesthetics
(1) Metaphysical Basics: Things are either devolving toward, or
evolving from, nothingness
(2) Spiritual Values: Truth comes from the observation of
nature/ Greatness exists in the inconspicuous/ Beauty can be
coaxed out of ugliness
(3) State of Mind: Acceptance of the inevitable/ Acceptance of
the cosmic order/ natural process
(4) Moral Precepts: Get rid of all that is unnecessary/ Focus on
the intrinsic and ignore material hierarchy
(5) Material Qualities: The suggestion of natural process/
Irregular/ Unpretentious/ Earthy, murky/Simple
The Main Philosophical Concepts of
WABI Aesthetics
(1) Imperfection : poverty and austerity are best,
r educing any unnecessary things.
(2) Incompleteness : (appreciating irregular and rustic form )
(3) Impermanence : awareness of temporal and spatial
transition, changeable or unstable nature
of things.
(appreciating well-used or ageing things)
11. Imperfect Beauty of WABI in Cha-no-Yu
Tsukubai, water basin; the irregular or
rustic shape of stone basin in which pure,
clear water was filled to rinse the hands
and mouths.
Teahouse: through the nijiriguchi, a
sliding door only 90 centimetres tall,
obliges guests to bow their heads
and crouch.
12. Tobiishi, stepping stones; mark a path
through the garden to tea house. Although
stones were arranged intentionally but not
yet completely.
Chawan, tea bowl; rough, flawed and
artless which shows the sense of
incompleteness.
Incomplete Beauty of WABI in Cha-no-Yu
13. Impermanent Beauty of WABI in Cha-no-Yu
Bamboo Vase with seasonal flower is
displayed in tokonoma. Guest have to take
turns admiring this display before seating
in the Tea Room.
Kama, the kettle of water which was well-
used and became muddy colour or smoky
hue, and rough tactile sensation.
