Genuine beauty doesn’t announce itself. It speaks in a subtle
and unobtrusive voice. The story it tells is that of
simplicity, modesty and circadian naturalness. Its language,
What makes wabi-sabi unique as a language of aesthetics is its
elemental character and formal fluidity. The former, evident
in that wabi-sabi represents a vital element of the Japanese
existential fiber, spawning from the intricately intimate
relationship between culture and nature. Manifested in the
interplay of earthy colours and the alignment of tones &
textures, it is reflective of the vast landscapes and forests.
The latter, evident in the guiding philosophy that function
dictates form spawns structures of severe exquisiteness that
are way beyond mere prettiness (adapted from House Beautiful,
edition 1960). In other words, a beauty that both permeates
the surface and extends beyond it, inviting an observer to,
times and times again, closely examine and explore the wabisabi
object in the light of the profound, unassuming and
placid air it creates. In this sense wabi-sabi, through its
more palpable manifestation, becomes, over time, a way of
seeing as well as a refiner of the senses. And, ultimately,
the final criterion for the highest form of beauty
(Soetsu Yanagi).
The beauty that brims with inner implications. The beauty 
that is not surface and on immediate display before the
eyes of the viewers. But the beauty that permeates the very
core of the creators landscape piece, leading the viewers to
draw that very beauty out of the piece itself, and by
themselves alone. For, each person, according to their
disposition and environment, will feel a special affinity to
one or another aspect. But when their taste grows more
refined, they will necessarily arrive at the beauty that is
wabi-sabi (adaptation of Soetsu Yanagi).