easy read with beautiful design

books:


	• Wabi-Sabi: for Artists, Designers, Poets & Philosophers Leonard Koren Stone Bridge Press, 1994 - 96 pages average customer review:based on 26 reviews view larger image
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highly recommended

Wabi Sabi

This is a small book, but takes awhile to appreciate and process. I am therefore still reading it, but am glad I bought it. It was highly recommended by a photography instructor - with specific recommendations on this author since there are many books out with this title.

Wabi-Sabi 101

A good introduction to the history and basic concepts of Wabi-Sabi. It has good examples that are relevant to our culture and lifestyle. I wish it had better photos. But overall I recommend it.

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easy read with beautiful design

This was a great intro to the ideas of wabi sabi. the use of modern art as a reference point is a very constructive way to describe "what is" and "what is not" wabi sabi. I definitely recommend this book for any artist or creative mind.

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Articulates the essence

This book has been very important for me in its ability to explain something that is hardly explainable - more to suggest the essence of Wabi Sabi and let the reader take it the rest of the way. Particularly in the second half of this slender book does the nature of Wabi Sabi come to life. It is a book I will continue to read on occasion, and it sits next to my Tao te Ching ready to be accessed at any time.

reviews: page 1, 2, 3, 4, 5, 6

From the Introduction

Wabi-sabi is a beauty of things imperfect, impermanent, and incomplete.
It is a beauty of things modest and humble.
It is a beauty of things unconventional.

The immediate catalyst for this book was a widely publicized tea event in Japan. The Japanese aesthetic of wabi-sabi has long been associated with the tea ceremony, and this event promised to be a profound wabi-sabi experience. Hiroshi Teshigahara, the hereditary iemoto (grand master) of the Sogetsu school of flower arranging, had commissioned three of Japan's most famous and fashionable architects to design and build their conceptions of ceremonial tea-drinking environments. Teshigahara in addition would provide a fourth design. After a three-plus-hour train and bus ride from my office in Tokyo, I arrived at the event site, the grounds of an old imperial summer residence. To my dismay I found a celebration of gorgeousness, grandeur, and elegant play, but hardly a trace of wabi-sabi. One slick tea hut, ostensibly made of paper, looked and smelled like a big white plastic umbrella. Adjacent was a structure made of glass, steel, and wood that had all the intimacy of a highrise office building. The one tea house that approached the wabi-sabi qualities I had anticipated, upon closer inspection, was fussed up with gratuitous post- modern appendages. It suddenly dawned on me that wabi-sabi, once the preeminent high-culture Japanese aesthetic and the acknowledged centerpiece of tea, was becoming-had become?-an endangered species.

Admittedly, the beauty of wabi-sabi is not to everyone's liking. But I believe it is in everyone's interest to prevent wabi-sabi from disappearing altogether. Diversity of the cultural ecology is a desirable state of affairs, especially in opposition to the accelerating trend toward the uniform digitalization of all sensory experience, wherein an electronic "reader" stands between experience and observation, and all manifestation is encoded identically.

In Japan, however, unlike Europe and to a lesser extent America, precious little material culture has been saved. So in Japan, saving a universe of beauty from extinction means, at this late date, not merely preserving particul

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