That the average Japanese cannot translate this concept is not surprising. What is surprising, however, is that when one turns to books on Japanese aesthetics the word is seldom mentioned. When it is used, it is buried in honorifics and lofty phrases, leaving the novice with the certainty that here indeed is an important concept but with very little understanding of its meaning. Stranger still is the fact that most Japanese dictionaries and encyclopedias, until a few years ago, make no mention of the term at all.
A Japanese-English dictionary (Kenkyūsha) includes the following range of meanings for shibusa:
1. astringent or rough:
shibui budōshu: coarse or astringent wine
Kono kaki wa shibui: This persimmon is astringent.
2. glum, sullen, sulky:
shibui kao o suru: to make a glum face
3. quiet, sober, tasteful
shibui iro: sober, refined color
shibui gara: quiet pattern
shibui koe: a trained voice
shibui kimono: a tasteful dress
shibui nari o suru: to dress tastefully
shibui konomi: quiet, refined taste
shibui bunshō o kaku: to write in a refined style
4. stingy, parsimonious:
kechi de aru: stingy ways
The second and fourth meanings have very little relationship to shibusa as an aesthetic concept. The first and original meaning, astringent or rough, is usually used in a literal sense, as when talking about the actual taste or feel of something. Sometimes, however, it takes on the more general meaning of "tastefully astringent." The third usage of shibusa includes a range of meanings. In the broadest sense, shibusa simply means tasteful. In its narrower form, it can be translated as quiet, sober refinement.
When one looks at how the word shibusa is actually employed by ordinary people and in scattered references in the literature, it becomes obvious that shibusa, as an aesthetic term, combines something of the first and third dictionary meanings. In other words, something of the "roughness" of the first definition is added to the "refinement" of the third. On the surface at least, there is a contradiction here, for how can something be rough and refined at the same time? As will be seen later, this pair of contrasting terms is only one of several such pairs included in this complex concept.
Attributes of Shibusa
In an interview for the magazine House Beautiful in 1960, Yanagi Sōetsu, late director of the Museum of Folk Crafts in Tokyo, defines shibusa in terms of seven attributes discussed below. We have taken the liberty of expanding upon Yanagi’s explanations of these attributes, as well as to provide different examples.
Simplicity
Simplicity is associated with qualities such as austere, unadorned, plain, and unfigured. Anything too complex cannot be shibui. A good example is the simplicity of the interior of a traditional Japanese residence. Ideally there is enough storage space so that practically everything is put away out of sight, including what little furniture is used. If the interior and exterior sliding panels are removed, all that remains in some cases is a roof supported by a few posts. This is about as close as one can come to living outdoors.
It should be emphasized, however, that although this may seem quite austere and painfully severe to the Westerner, it is not regarded as such by traditional Japanese. Sitting on the floor after a hot bath, with a fine meal spread out on the low table, can provide a sense of wellbeing, or even luxury.
Implicitness
Implicitness refers to the intrinsic meaningfulness or depth something must have if it is to avoid being shallow or superficial. Despite the outward simplicity, there is more than meets the eye. If one looks at a Zen meditation garden, such as that of Ryōanji Temple in Kyoto, the first impression is that of a simple arrangement of rocks and gravel. Upon closer inspection, however, a variety of possible meanings are suggested. To some, the rocks suggest mountains rising above the clouds, whereas others see islands surrounded by sea. As one continues to meditate upon the garden, deeper meanings arise, often pertaining to one’s relationship with self, nature, and other people. When something is shibui, it continues to offer new meanings regardless of how many times it is encountered.
Left: The clean straight lines of the interior of Kawai Kanjiro’s residence in Kyoto illustrates simplicity.
Right: Intrinsic meaningfulness is implicit in the Zen karesansui garden of Ryoanji Temple in Kyoto.
Modesty
The shibui article does not assert its presence nor does it emphasize the personality of the artist or craftsman. It should be easy to live with over a long period of time. Although an art object with bright colors and a bold design may be striking, it soon becomes boring and may be replaced with something quieter and less pretentious.
In terms of interior decoration, understatement is the key. There should not be too many high points of interest, as exemplified by the tokonoma (alcove for art objects and a flower arrangement) in a traditional Japanese room. If the surroundings are simple and unassertive, even a simple flower arrangement stands out. A gorgeous flower vase would attract attention to itself, whereas a shibui vase magnifies the beauty of the flowers.
Tranquility
Other words are serenity, composure, sobriety, or calmness. The tea ceremony, for example, is supposed to bring about serenity of the spirit. From the moment one enters the narrow garden path leading to the tearoom, the cares and noises of the world are left behind. Once inside, not a sound is heard except the boiling of the water and the swishing of the tea brush. The devotee participates for a moment in the eternal silence of the Universe and emerges with a new serenity and peace. This quality of serenity is captured in many Buddhist sculptures, flower arrangements, and other arts.
Left: The container for a flower arrangement should be modest so it does not distract from the arrangement itself.
Right: The approach to a teahouse should impart a feeling of tranquillity in preparation for the tea ceremony.
Naturalness
Anything that is too self-conscious or artificial cannot be shibui. Some of the best ceramic artists in Japan create pots that look uneven. They have an "imperfect" quality that results from allowing the clay to grow spontaneously on the wheel instead of forcing it to conform completely to the hands. In the words of the artist, such pots are born —not made.
Whereas the Chinese are known for their love of symmetry, the Japanese generally avoid symmetry because they feel it is seldom found in nature. Because it is made of natural materials and lacks the symmetry and perfection of a manufactured object, a lantern at Sanzenin Temple near Kyoto fits perfectly into the moss that surrounds it. Shibui colors are natural colors. They are referred to as "muddy" colors since they are the product of mixing gray with primary colors to achieve a "silvery" effect. Shibui colors are subdued, quiet, and harmonize well. They never attract attention to themselves.
Roughness
Because shibui objects are natural they often have irregular textures. Practically anything from nature, such as the bark of a tree or a moss-covered stone, is an example of this quality. Bizen pottery provides a good example. The Bizen potter often leaves irregularities in the clay, such as small stones, that project from the sides of the pot or leave small pits on its surface.
Many walls that surround domestic and temple compounds in Japan also illustrate the beauty of natural surfaces. To the Japanese, the texture of a Bizen pot or the pitted surface of a rustic wall is not vulgar or coarse but the highest expression of sophistication and the love of nature.
Left: The colors and materials in this room in a Takayama businessman's house are all natural.
Right: This mud wall in Nara, with its rough texture, illustrates an aspect of beauty inherent in the concept of shibusa.
Normalcy
Shibui art is far removed from sickness and abnormality; it is strong, healthy art. This criterion may originally have come from the Shinto insistence upon purity and health. A good example from the arts and crafts is folk art. Folk art is utilitarian. It must be strong and able to withstand daily use. Weak things do not long survive. Folk art does not stand out as the work of genius because it is made by ordinary people for ordinary use. Thus it is simple, honest, and normal. Anything too complex, ornate, or luxurious is headed in the direction of abnormality and sickness.
Although refinement is not included in this list of attributes, it is implied throughout. The simplicity of the tea ceremony is a refined simplicity, and the texture of a Bizen pot is a refined roughness. Ordinary, natural, simple things are raised to a place of honor. This is a sophisticated concept that requires an educated and refined taste. Refinement does not conflict with roughness because in this context it simply means being refined of all artificial and unnecessary ingredients. It means a natural, simple elegance. Court art in Japan has always had a tendency to drift toward a different kind of refinement —an over-refinement full of sentimentality and charm. At this point, refinement can become weak. But if refinement is linked with the other qualities of shibusa, it remains "healthy."
At first, it is difficult to keep all of these qualities in mind, but upon reflection it is obvious that they are all very closely related. Shibusa is a rich and meaningful concept, and as one gains experience in using it, all seven qualities gradually fuse together into one standard of beauty. A good, short definition that illustrates the "check and balance system" inherent in the concept is given by Harada (1937:31) who says: "it is that quality which is quiet and subdued. It is natural and has depth, but avoids being too apparent, or ostentatious. It is simple without being crude, austere without being severe. It is that refinement that gives spiritual joy." Another phrase that captures many of the qualities of shibusa is "restrained spontaneity."
Although the Japanese had specific aesthetic terms with limited meanings, there was no one term that expressed a general idea of beauty until the advent of the concept of shibusa. Occasionally, all of these qualities come together in one object such as a piece of pottery. Pottery is ideal for this purpose as it allows the inclusion of roughness or texture. This is one of the reasons that in Japan, unlike many countries, pottery is viewed as one of the fine arts rather than a handicraft.
Left: Normalcy, strength and health is conveyed by this piece of woven cloth.
Right: All of the qualities of shibusa sometimes come together in pottery such as this Shino sake cup.
Relation of Shibusa to Other Aesthetic Concepts
There are numerous Japanese aesthetic terms, as might be expected in a culture in which the fundamental orientation to life is basically aesthetic. Only a few of the most basic terms are discussed below.
Aware
Japanese poetry expresses emotions in terms of nature. Even ordinary writing tends to use sensuous, concrete images instead of abstract concepts. Basically, the word aware (or mono no aware) means the capacity, through empathy, to be deeply moved by the beauty of nature, art, or the feelings of other people. It expresses the concreteness of one’s reaction to things when one exclaims "ahh." It is the expression of the peculiar sentiment that occurs when one sees the relation between the uncertainty of human existence and the processes of change in nature.
By the Heian Period, this word had developed connotations of gentle sadness. In time, this word took on the modern meaning of "wretched." In Heian times, however, the term was used for the deepest kind of beauty. To experience aware, a person must appreciate more than the charming, colorful aspects of art and nature. He/she must have the kind of sensitivity that enables one to respond with deep emotion to the truly beautiful. Thus the melancholy cry of a bird at night or the beauty of dew on a thistle flower can bring tears to one’s eyes, even though it might be difficult to explain why. The poetry and art of the period express this subtlety of feeling through the use of suggestion.
Miyabi
Miyabi, another word used in Heian society, means courtly refinement —the ability to enjoy quiet pleasures such as a spray of plum blossoms. The Heian Period was undoubtedly a time of great advancement for Japanese culture. It is often referred to as the "classical period" when the Japanese were able to break the influence of Chinese cultural domination and develop their own unique culture.
But with the increasing refinement of Heian court society, the range of emotions that could be expressed in poetry, literature, and the arts and crafts became very narrow. In contrast to the honest simplicity of the earlier Manyōshū (the first collection of native poetry), the Heian poets and artists expressed a somewhat artificial taste. Like shibusa, miyabi avoids the crude and the ugly, but it goes further by also rejecting the rustic —the roughness and imperfection of the world of nature. Miyabi did not have the melancholy overtones of aware but it expressed an artistic sensitivity equally subtle. Restraint and propriety in all areas of life were considered to be the marks of the truly refined.
Left: The transitory beauty of nature is captured in the concept of aware.
Right: The courtly refinement of the concept of miyabi is captured by this delicate food in a lacquer bowl.
Yūgen
The concept of yūgen appeared in the early 10th century but was not widely used until the Kamakura Period. Although Heian people reacted with deep sensitivity to nature, they did not go beyond the face of nature to the mysterious depths implied by yūgen –a concept influenced by Zen Buddhism, which was becoming popular in the Kamakura Period. The realm of true reality cannot be expressed in words; it can only be intimated or hinted at (shihyō). In this sense, the concept of yūgen is related to the Buddhist concept of kan –the ability to see something universal and unchanging behind whatever one is actually observing.
In the Noh play, the beauty of the movement and the hypnotic effect of the "music" lift the mind from the mundane world to the realm where beauty and truth become one. This stimulus must be presented in bare and simple terms, however, or the spectator may never move beyond the aesthetic enjoyment of the form itself. The actor must have an inner strength that holds the slow-moving drama together, but he must not reveal this inner strength to the audience directly. Thus the main character (shite) often wears a mask because it covers the surface aspect of an emotion and invites the audience to participate in creating a deeper, spiritual reality.
Thus yūgen refers to a level of experience that transcends the melancholy of aware. It is a prelude to the value of "intrinsic meaningfulness" included in the concept of shibusa. A good example of intrinsic meaningfulness in pottery and lacquerware is to make a simple drawing of a plant or flower on the surface of the vessel, and then to cover the drawing with glaze or lacquer, allowing only part of the drawing to show through. Thus yūgen is associated with veiling.
For example, it is better to view mountains and trees enveloped in mist because this allows one to imagine the beauty of the partially-hidden scene. The essential idea of yūgen is that infinity (mugen), or the eternal, cannot be captured in words or other artistic media. It can only be suggested or implied by what is left unsaid.
Despite the differences between aware, miyabi, and yūgen, that they all share the values of restraint, elegance, refinement and beauty. To experience such values, one must possess sensitivity and sophistication.
Left: The stark simplicity of a Noh stage provides an appropriate setting for the expression of yūgen in the Noh play.
Right: The sense of mystery implied by the concept of yūgen is conveyed by this misty scene.
Sabi and Wabi
Sabi is an old word that goes back to the Manyōshū. It found its deepest expression, however, in the tea ceremony. In order to understand this concept, it is necessary to look briefly at the history of the tea ceremony in Japan. The history of tea drinking began in the Nara Period when tea, imported from China, was used as a medicine. In the early Heian Period, imported tea was incorporated into Buddhist ceremonies and tea drinking was popular at the court. The use of tea appears to have died out in Japan as Chinese influence declined in the mid 8th century.
Tea may have been re-introduced in the 12th century by Eisai, the founder of Rinzai Zen, and cultivated for the first time in Japan. In the Kamakura Period, the nobility indulged in "tea games" based on the practice of Tang and Sung literati who met to have tea-tasting contests. The winner was the one who could guess where the tea was grown. He was often rewarded with paintings or other works of art that participants had put into the "kitty."
In the following period (Muro-machi), officials such as Nōami and Sōami were appointed to reorganize these tea games into a public ceremony fit for the Shogun. This they did by choosing only the best utensils, ranking Chinese paintings that could be used in the ceremony, and laying down rules of etiquette to be followed by the participants. The result was the Shoin Sadō school. It was at this time that the famous Temmoku ware from China was adapted for ceremonial purposes in Japan.
As Nōami was perfecting the Shoin Sadō school, Murata Shukō established the Sōan Sadō school, literally meaning the “grass hermit house tea ceremony.” Although the Shoin Sadō school was indirectly influenced by Zen, Zen became more important in the Sōan Sadō school. Yanagi Sōetsu argued that the Way of Tea (Cha-no-yu) consists of using objects to study Zen in that the utensils used in the tea ceremony, such as a teacup, provide a focus for meditation. In place of the elegant surroundings deemed necessary by Nōami, Shukō simplified the teahouse and its decorations. It was modeled after the farmhouse because Shukō felt that the beauty of the tea ceremony would be magnified by lonely, humble surroundings. Elaborate Chinese paintings were replaced by a single calligraphic scroll in the tokonoma (recessed alcove). The basis of Shukō’s philosophy was the concept of hiekareta, meaning cool, skinny, pure, withered, or rough. Under Shukō, the tea ceremony was transformed from a game into a search for the right path, from a hobby to a religious ceremony.
The next step was taken by Takeno Jōō, who further simplified the tea room and introduced the use of simple Korean rice bowls in place of the elegant Chinese ware. These Korean bowls were referred to as wabi because they were imperfect, plain, rough, and unfinished. Used by simple peasants, such tea bowls were considered of little value in Korea. But the Japanese masters saw in them a healthy, natural beauty that went well with the rustic simplicity of the tearoom. The final step was taken by the great master Sen no Rikyū who made the tearoom smaller, reduced the size of the doorway so that everyone, regardless of status, had to stoop to enter, and ordered Chōjirō, an ordinary craftsman, to make simple raku style vessels for the ceremony itself. Unglazed pottery from Southeast Asia (called Namban), as well as from several of the traditional kilns in Japan, was also used.
The rustic simplicity of a teahouse, with its natural materials and colors, provides a suitable backdrop for the elegance of the tea ceremony.
It is said that when asked about the secret of the tea ceremony, Rikyū replied, “making it so it feels cooler in summer and warmer in winter; arranging charcoal so water boils easily and tea tastes good.” In other words, there is no set way for making tea; just try to make tea that fits the occasion. All three masters, Shukō, Jōō, and Rikyū, developed their own ways without adhering to any particular tradition. This emphasis upon creative innovation is called sakui in Japanese. A similar concept is suki. Today suki means "subtle elegance" but originally it implied an adventuruous spirit in which one moves beyond conventional standards.
The meanings of wabi and sabi are very close. Wabi refers to that which is humble, simple, normal, and healthy, while sabi refers to elegant detachment and the rustic maturity that comes to something as it grows old. It is seen in the quiet loneliness of a garden in which the stones have become covered with moss or an old twig fence that seems to grow naturally from the ground. In the tearoom it is seen in the rusty tea kettle (sabi literally means rusty). The total effect of wabi and sabi is not gloominess or shabbiness, however, but one of peace and tranquillity. Today, the words wabi and sabi are usually used together, as part of a single concept, wabi-sabi. Koren (1994:59) says, "wabi-sabi refers to the delicate balance between the pleasure we get from things and the pleasure we get from freedom from things."
The concept of wabi-sabi is expressed by these stone artifacts at Kotoin, a sub-temple of Daitokuji in Kyoto. The water basin from Korea was originally owned by Hideyoshi and the stone lantern was a possession of the great teamaster, Sen no Rikyū.
In summary, the tea ceremony incorporated the values of aware, miyabi and yūgen in its emphasis upon restraint, elegance, refinement and beauty. It balanced these values, however, with the rustic simplicity of wabi and sabi. Tea culture is a culture of hi-shōmen (unorthodox) as opposed to shōmen (orthodox). Whereas China supplied the standards of orthodox beauty, the unorthodox standards of taste associated with wabi-sabi were developed in Japan.
Iki
Iki is sometimes translated as "chic" or "stylish" without being pretentious. At the same time, however, the concept implies something quite sensuous. An iki woman did not wear heavy make-up or sumptuous kimono. She dressed in clothes with simple patterns and subdued colors such as gray, brown, and dark blue. Tastefulness amplified rather than detracted from her erotic appeal. The term iki is not used much today, perhaps because of its origins in the "floating world." The modern term, senren, is similar. Senren means polished or refined. It is stylish but not ostentatious. The primary difference between the concepts of iki and senren is that senren lacks the erotic connotation of iki.
When Shibusa Entered the Common Vocabulary
In the early part of the Edo Period an appreciation of the tea ceremony spread rapidly among all classes of society; for the first time in Japanese history, the values of the upper classes came to be shared by the common people. By this time, the standards of beauty embodied in the tea ceremony had been incorporated into one term —shibusa. The details of how this happened are not known, but by the end of the 17th century, shibusa was part of the common vocabulary.
One of the best examples of the culmination of aesthetic values in the concept of shibusa is provided by Katsura Rikyū, an Edo Period detached palace constructed in an informal style known as sukiya. The assymetrical arrangement of attached buildings is set in a tasteful stroll garden considered by many to be Japan’s finest.
The concept of shibusa emphasizes naturalness and simplicity, as well as an elegant rusticity imparted by texture. The overall effect, however, is refined. The concept of shibusa is illustrated in this mud wall at Katsura Rikyū in Kyoto, and in the beautiful orange colors of ancient clay tiles that contrast with the weathered grays of the siding in this dwelling in Okinawa.
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