Japan inspiration
our studio finds a lot of inspiration in the art, culture, philosophy of Japan and we want to share it with you
Wabi -Sabi
What is the meaning of wabi-sabi? Wabi-sabi, in its essence, means to respect and find beauty in imperfection and the passing of time.
The western world’s concept of beauty is so concerned with perfection, universal laws, and symmetry.
Whereas wabi-sabi finds peace and a deep appreciation for life and things as they are.
Wabi-sabi is a Japanese term that has no western equivalent.
The first word, “wabi,” refers to loneliness and being on one’s own. While the second word, “sabi,” refers to the concept of how aging and wear can enhance an object.
Wabi-sabi is a way of living that focuses on discovering the beauty within the imperfections of life and accepting the cycle of life.
There’s respect for the passage of time, and flaws are not seen as things that need to be fixed.
Imperfections are instead valued, and signs of the passage of time are cherished.
APPRECIATE WHAT YOU ALREADY HAVE.
“Old” does not mean less valuable. Remember that just because something is well-worn doesn’t mean it needs to be replaced with a newer, “better” version. Signs of wear increase the value of items because it makes them distinctive.
“Nothing lasts, nothing is finished, nothing is perfect.”
RICHARD POWELL
Katsushika Hokusai (葛飾 北斎, c. 31 October 1760 – 10 May 1849), known simply as Hokusai, was a Japanese ukiyo-e artist of the Edo period, active as a painter and printmaker. He is best known for the woodblock print series Thirty-Six Views of Mount Fuji
Katsushika Hokusai
Wabi-South Wind at Clear Dawn
The Great Wave off Kanagawa
/ 1831
Katsushika Hokusai’s much celebrated series, Thirty-Six Views of Mount Fuji (Fugaku sanjûrokkei), was begun in 1830, when the artist was 70 years old. This tour-de-force series established the popularity of landscape prints, which continues to this day. Perhaps most striking about the series is Hokusai’s copious use of the newly affordable
Berlin blue pigment, featured in many of the compositions in the color for the sky and water. Mount Fuji is the protagonist in each scene, viewed from afar or up close, during various weather conditions and seasons, and from all directions.
Japanese photographer Masao Yamamoto explores the emotional power of photography, creating small-scale silver gelatin prints that highlight the relationship between photography and memory. He works with a range of subject matter, from the nude female body to the landscapes and natural wildlife that he encounters in the Japanese countryside.
Yamamoto Masao
His early series, A Box of Ku and Nakazora are comprised of palm-sized photographs that the artist has subjected to a process of artificial aging, creasing or staining them, so that each one is imbued with a timeless quality. Described as “visual haikus,” these photographs reveal the beauty that is found in the often-overlooked elements of daily life - a flock of birds in the sky, or a chipped ceramic bowl. These series are displayed unframed, in loosely scattered groupings where the spaces in between the prints are as important as the prints themselves. The object-status of each photograph is further highlighted by the fact that many of them are intended to be handled, so that an intimate viewing experience is encouraged, mirroring the intimate nature of many of the moments Yamamoto has captured.
“When I photograph, I start out with an open mind. If I start out with a precise idea of what I want to photograph, I might miss an interesting event or object. So, I begin with an open mind and try to photograph all kinds of objects."