HAGA KŌSHIRŌ

One of the most important aesthetic principles in Japanese culture
is wabi, and in this essay Kōsbirō focuses on its historical develop-
ment by first defining the term and then discussing its primary
sources. Through Kōshirōs references to the works of Kenko and
Zeami, his discussions of yūgen and sabi, and his definition of the
role of wabi in the tea ceremony the reader is constantly reminded
of the interconnectedness of all the aesthetic principles discussed
in this volume and the immense influence they have had on the
shaping of Japanese literature, art, philosophy, and religion.

Chanoyu seeks to embody a particular kind of beauty: wabi. Together with
the concept of yūgen (mystery and depth) as an ideal of the no drama
and the notion of sabi (lonely beauty) in haiku poetics, wabi is one of the
most characteristic expressions of Japanese aesthetic principles. This essay
attempts to clarify the nature of wabi and the beauty it represents by looking
at its historical development and the factors contributing to its refinement.

Because wabi as an aesthetic brings together many diverse elements, it is dif-
ficult to encompass in a simple definition. It can, however, be likened to a
three-sided pyramid. Let us briefly look at each of those three sides in turn.

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