_Yugen_, the realization of profundity through open-ended suggestion, found its finest expression in No poetry. _Sabi _grew out of the Heian admiration for lovely things on the verge of extinction. By the period this curious attitude was extended to things already old, and so entered the idea of _sabi_, a term denoting objects agreeably mellowed with age. _Sabi_ also brought melancholy overtones of loneliness, of age left behind by time. New objects are assertive and striving for attention; old, worn objects have the quiet, peaceful air that exudes tranquility, dignity, and character. Although there is no word in a Western language precisely equivalent to _sabi_, the ideal is well understood. For example, we say that the sunburned face of a fisherman has more character than that of a beardless youth. But to the Japanese _sabi_ is first and foremost the essence of beauty, whether in a weathered house or temple, the frayed golden threads of fabric binding a Zen scroll, a withered bough placed in the _tokonoma_ alcove, or an ancient kettle rusty with time. The ideal of _sabi_, which became part of the Zen aesthetic canon of beauty, was perfectly at home in the tea ceremony, where even the utensils were deliberately chosen for their weathered look. _Sabi_, however, seemed an incomplete ideal to Sen no Rikyu. The fact that rich objects are old does not make them less rich. _Sabi_ can still encompass snobbery. As tea master for both Nobunaga and Hideyoshi, Rikyu was so pained by their ostentation that he eventually revolutionized the tea ceremony and created a new aesthetic standard: _wabi_, a deliberate restraint, which is exemplified in his tea party of the single morning glory. _Wabi_, now a cornerstone of Zen aesthetic theory, is well described in a poem by Rikyu, which includes the lines: _How much does a person lack himself, Who feels the need to have so many things. _ In a sense, _wabi _is the glorification of artificial poverty, artificial because there must be the element of forced restraint and in genuine poverty there is nothing to restrain. The _wabi _tea ceremony permits no hint of wealth to be in evidence; those who enter the tea garden must leave their worldly status at the gate. Similarly, the _sukiya_-style teahouse must look like a rustic hut--not made out of something new, for that would destroy _sabi_, but not out of expensive antique woods, either. This ideal extends even to the floral arrangement, one or at most two buds; the clothes one wears, simple not dressy; the pots and cups, plain and undecorated.