4 Japanese aesthetic values 1

BSTC 2003
Flower or Weed?

▪ 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.

6
Recap: What is Aesthetics?
▪ 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?

7
What is beauty?
▪ 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.

8
Our Judgement
▪ Seems to be instinctive.
▪ I just like it!

▪ Beauty: “Enjoyment” and

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

9
Oriental vs Western Values
▪ 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.
▪ Example:
▪ Michelangelo’s the Creation of Adam
▪ Sengai Gibon (仙厓 義梵) the Universe
10
 “Zen Aesthetics”
▪ 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.

11
 Japanese Aesthetics Ideals
▪ 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

12
 Mono no aware
▪ 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.
13
 Sadness = Blissful and Beauty?
▪ 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”.
▪ Accept the nature of impermanence.
▪ Release yourself from the bondage of the mind and enjoy
the process of continuous change.
▪ This is the ultimate beauty.

▪ One accepts and transcends the world of suffering.

▪ Experiencing mono no aware means savouring life
more deeply.

14
History of Mono no aware
▪ 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.
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“Japanese” Style
▪ 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").

16
Aristocratic Beauty
▪ 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.
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The Tale of Genji
▪ 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.

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The Tale of Genji
▪ Hikaru Genji (光源氏), the handsome, sensitive,
gifted courtier, an excellent lover and a worthy
friend (wearing an ebosi 烏帽子).
▪ 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”.

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 Beauty of “Ephemeral”
▪ 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
grasp there is permanence.
▪ Mono no aware -> “aware” of this
impermanence, which is natural. 20
Changing of Season
▪ 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/

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Spring
▪ 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.
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Cherry Blossoms
▪ 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/

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Summer
▪ 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.

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Cicada
▪ 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
▪ 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).

26
Momiji gari (紅葉狩)
▪ “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/

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Winter
▪ 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).

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Anime
▪ 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
Colours
▪ 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

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Ink
▪ Fuyu-gaki
▪ Winter persimmons.

▪ Tsuki-yo
▪ Moonlit-night

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

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 Japanese Aesthetics Ideals
▪ 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
History of Wabi-sabi
▪ 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
Wabi-cha (侘茶; 侘び茶)

▪ 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
Kokoro no fumi (心の文, "Letter of the heart")
by Murata Jukō 村田珠光

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
。
 Kokoro no fumi
(心の文, "Letter of the heart")

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
Tea and the Warrior Class
▪ 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)
▪ 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 (織田信長)

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
The Principles of Wa Kei Sei Jaku

▪ 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
 The Aesthetics of Wabi Sabi
▪ 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
Wabi-sabi 侘寂
▪ The beauty of things as “imperfect, impermanent,
and incomplete”:
▪ Quite abstract.
▪ Categorized into the following for easy understanding:
▪ Hisamatsu Shin’ichi 久松真一 (1889-1980).
▪ Student of Nishida Kataro (西田 幾多郎 1870-1945)

▪ Fukinsei (不均斉): asymmetry, irregularity;

▪ Kanso (簡素): simplicity;
▪ Kotan (枯淡): austere sublimity, lofty 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
Fukinsei (不均斉): asymmetry,
irregularity
▪ 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
Asymmetry

vs
Kenroku-en (兼六園), Ishikawa

43
Kanso (簡素): simplicity

▪ 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
Simplicity
▪ 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
Simplicity
▪ 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
Kotan (枯淡): austere sublimity

▪ Impermanence.
▪ Weathered.
▪ 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
Weathered
▪ 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
Shizen (自然): without pretence, natural

▪ Taoist thoughts.
▪ Birth, old age, sickness, and
death are natural life-cycle.
▪ 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
Naturalness
▪ 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
 Materials
▪ Wood.
▪ Japanese paper (washi 和紙).

▪ Clay.
▪ Béton brut “raw concrete”.
▪ Natural Dye.
▪ Natural fibre.
▪ Wild flowers (山野草).

▪ Hand-made.

51
Yūgen (幽玄): subtly profound grace, not
obvious

▪ From Chinese
philosophical texts,
yūgen meant "dim",
"deep" or "mysterious".
▪ Yūgen suggests that
which is beyond what
can be said.
▪ Feeling,
▪ Mysterious and
ineffable.

52
Mysteriousness
▪ 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
The Territory of Unknown
▪ Beauty of 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
Datsuzoku (脱俗): unbounded by convention, free

▪ 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
Seijaku (静寂):
tranquillity
▪ 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
 Wabi-sabi “Tea bowl”

▪ Asymmetry;
▪ Simplicity;
▪ Weathered;
▪ Natural;
▪ Subtleness;
Raku bowl by Chojiro, Raku Museum, Kyoto
▪ Unbounded by
convention;
▪ Tranquility.

58
DALL-E 3