Wabi-sabi
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In traditional Japanese aesthetics, wabi-sabi is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of appreciating beauty that is "imperfect, impermanent, and incomplete" in nature. It is prevalent in many forms of Japanese art.
Wabi-sabi is a composite of two interrelated aesthetic concepts, wabi and sabi . According to the Stanford Encyclopedia of Philosophy, wabi may be translated as "subdued, austere beauty," while sabi means "rustic patina." Wabi-sabi is derived from the Buddhist teaching of the three marks of existence, specifically impermanence, suffering and emptiness or absence of self-nature, however, the two were originally seen as distinct concepts.
Characteristics of wabi-sabi aesthetics and principles include asymmetry, roughness, simplicity, economy, austerity, modesty, intimacy, and the appreciation of both natural objects and the forces of nature.
For Richard Powell, "Wabi-sabi nurtures all that is authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect."
Another description of wabi-sabi by Andrew Juniper notes that, "If an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi."
From an engineering or design point of view, wabi may be interpreted as the imperfect quality of any object, due to inevitable limitations in design and construction/manufacture especially with respect to unpredictable or changing usage conditions; in this instance, sabi could be interpreted as the aspect of imperfect reliability, or the limited mortality of any object, hence the phonological and etymological connection with the Japanese word sabi (錆, lit. 'to rust'). Although the kanji characters for "rust" are not the same as sabi (寂) in wabi-sabi, the original spoken word (pre-kanji, yamato-kotoba) are believed to be one and the same.
Wabi and sabi both suggest sentiments of desolation and solitude. In the Mahayana Buddhist view of the universe, these may be viewed as positive characteristics, representing liberation from a material world and transcendence to a simpler life. Mahayana philosophy itself, however, warns that genuine understanding cannot be achieved through words or language, so accepting wabi-sabi on nonverbal terms may be the most appropriate approach.
In one sense wabi-sabi is a training whereby the student of wabi-sabi learns to find the most basic, natural objects interesting, fascinating and beautiful. Fading autumn leaves would be an example. Wabi-sabi can change the student's perception of the world to the extent that a chip or crack in a vase makes it more interesting and gives the object greater meditative value. Similarly materials that age such as bare wood, paper and fabric become more interesting as they exhibit changes that can be observed over time.