Throughout post-1392 Japan, many shifts had occurred in both style and subject matter, but many foundational ideas remained the same. Japanese artists have always had a dear love for the use of humor, paradox, natural materials, and, most importantly as it is what we examine here, the techniques of asymmetry and contrast. Many changes occurred in Japanese art, but rather than creating entirely new concepts, they more often simply altered existing ideas and techniques. Typically what would spur these shifts were changes in authority, political conditions, and social norms. A few art forms that show use of asymmetry and contrast amid the ever-changing times were ink paintings, dry gardens, and the Japanese tea ceremony.

Ink paintings, common throughout Japanese history, went through a few great changes in terms of contrast. Before 1392, ink paintings traditionally were composed of very rough textures and intense imagery. The dominant religion of the time was Pure Land Buddhism, and the subjects of most paintings were Zen monks and teachers. But, with a new political system came a new religion as well as a new ink painting technique, all influential upon each other. The nation that was once ruled by an emperor and his court was now taken over by the Ashikaga family, who brought with them the leading shogun (general-in-chief) and his warrior underlings, the disciplined samurai. The samurai followed the teachings of Zen Buddhism, and as they gained respect, other Japanese began to follow as well. Words one might use to describe followers of Zen Buddhism would be lonely, at peace, and calm. This would reflect into the ink paintings created by monks and other painters. The new style was very simplistic; the diluted greys throughout each piece blended and flowed together to create shape and imagery. Subject matter changed as well, from what used to be prominent Zen figures, now turned into Japanese renditions of the Chinese landscape painting. Later, as Japan would erupt into civil war lasting over one hundred years, ink paintings would revert to a rough, very intense and violent style, reflective of the times.

The Zen dry garden, simply put, was a flat space filled with a layer of gravel. Amongst that gravel, asymmetrically placed, would be a series of stones in sets of two, three, or five. Each stone would be encircled by a growth of moss. Every inch of the dry garden was intended to be in a near perfect state- the gravel uniformly raked, all growths kept neat and trim – even the trees growing outside of the garden were meant to be beautifully perfect. But, it was more the labor that went into the garden than the appearance itself that was important. Zen Buddhists believed that small, seemingly mundane tasks, such as raking gravel in a dry garden, were very conducive to meditation. Additionally, the asymmetry of the rock placement within the garden mimicked the natural world. Monks during the time might attempt to imagine different natural objects that the rocks and gravel might imitate, such as the stars in the sky, or leaves in a pond, which might also lead to meditation. The shifts in the realm of ink painting that lead the subject to that of Chinese landscapes also affected the Zen dry garden. With time, the monks that maintained the gardens would add small plants and rare stones to imitate ink paintings, still keeping the natural form of asymmetry.

The Japanese tea ceremony of the Edo period also exemplified the use of asymmetry. The tea ceremony was used by government officials within the now-ruling Tokugawa family to bring together people of influence. These people included - aside from government officials –monks and wealthy merchants, who had now gained some power as a result of an upward rising economy. The people would congregate with one another in intimate groups over tea. Tea was consumed in a very specific ceremony, called the cha no yu, which also made use of very specific utensils. The utensils used within the ceremony would grow to be appreciated for their aesthetic qualities, leading to the use of a very specific type of tea bowl. What typically had been used as a Korean peasant’s rice bowl now came to be in high fashion. The bowl, being that it was used for poor people, was full of imperfections. The overall shape was very asymmetrical, with uneven ridges, indents, and markings. The influential people who met in the tea ceremonies begged artisans for these imperfect pieces.

The use of asymmetry and contrast in Japanese art fit in with the people’s ideals perfectly. Asymmetry in art mimicked the natural world, leading the viewer to ponder and appreciate the beauty of their real-world surroundings. Contrast was useful for portraying emotion, which typically had close connection to conditions of Japanese life. During the peak of Zen Buddhism, subtle tones and values would show simple contentedness, while in a time of war and chaos, bold and jagged brush strokes might indicate stress and violence. Perhaps in viewing this selection of Japanese art, the audience might gain a deeper appreciation of asymmetry and contrast in their surroundings, and add to their own expressive skills.

Curated by: Caitlin Breen & Gabrielle Shea

Curatorial Statement by: Gabrielle Shea

WORK CITED

Stokstad, Marilyn. Art History, Portable Edition: A View of the World Part Two. Vol. 5. 3rd ed. New Jersey:

Pearson Education, Inc., 2009. Print.