 With the decline of the cloistered Heian court, the nature of Japanese aesthetics underwent a change as dramatic as that of religious philosophies. After the fall of the Minamoto’s shogunate in Kamakura and the takeover by the Ashikaga, the new shogunate moved its headquarters to Muromachi in Kyoto in 1338. The reestablishment of relations with China precipitated an economic boom and revival of the Chinese-influenced arts in the capital, but the prosperity was short-lived. Triggered by a dispute over shogunal succession, open warfare broke out in Kyoto, ultimately involving most of the major regional military lords from around the country. The capital was leveled and the Ōnin War (1467–1477) ended in stalemate but not before the coffers of the shogunate and the court were almost completely depleted. Upon returning to their home regions, local wars continued and the entire country entered the Period of Warring Domains, lasting for over a century. Without the isolation of a cloistered community of aristocratic courtiers, the former aesthetic categories were superseded by new ones suggestive of retreat or withdrawal: withdrawal from the cultured and elegant to the plainness of the rustic (wabi), withdrawal from the outward glitter to the lonely, neglected, and isolated (sabi), and withdrawal from the surface to the quiet, mysterious depths (yūgen). These became central categories in the new art forms of tea ceremony, poetry, nō drama, and landscaped gardens. (See the entry on   Japanese Aesthetics, sections 3–5.)