The Nature of Japanese Garden Art

source: http://bonsaibeautiful.com/nature_of_garden_art/japanese/index.html

The Nature of Japanese Garden Art NIWA - "pure place" is the word for the Japanese Garden. It has its echo in Eden which in the western cosmology was a garden of purity before sin entered into the world. Since sin never entered the NIWA, it is still the pure and beautiful place it always has been. The principles of Zen philosophy help us to bring to a personal experience of the Japanese Garden understandings, leading to a deeper comprehension of its meanings. In other words, the more we can bring to the experience, the greater will be the return to the observer.

Zen Principles which relate to the Niwa A Japanese Garden is a representation of the universe and its elements: Fire in the form of a stone or iron lantern, Earth in the form of stone, and water, air, plant, and animal life in their true forms.  Gardens essentially divide between the dry landscape and the pond garden types. Even in a dry garden there is always some water, notably in dripping basins or suggested by waterfall chains from the down spouts. The garden path, or roji, is not merely a functional entry into the garden. It is a philosophical path separating the viewer step-by-step from the work-a-day world which he leaves behind. Its stones are placed with careful irregularity and lead indirectly rather than directly to often hidden or obscure places. Bends in the path, or larger stones, are stopping points for vistas or views, representing meditative pauses in the personal experience of contacting the universe via the garden experience. Stones generally form the basic supporting framework of a Japanese garden,and they should look as though they had always lived in the spot in which one sees them. Jagged stones are used to suggest mountain areas and water-worn pebbles are used in stream courses and along shorelines.  These landscape effects are often more symbolic than realistic. For example, there is generally an island in either a stream or pond which suggests the island of everlasting life, or Nirvana - a place without time or space of ultimate retirement in peace and tranquillity. Its symbols may be a stone representing a turtle, or a tree form representing a crane - symbols of longevity and the good life - and such additional happiness symbols as the shochikubai or three friends of the new year consisting of pine, bamboo and plum. Some of these symbols are entirely abstract in their form. A Japanese Garden is not planted with the idea of presenting a display of flowers. The Japanese often enjoy their gardens most in the austere conditions of winter when the trees are bare and the foliage is at a minimum. They often trim camellias, azaleas, and other flowering shrubs so as to produce a minimum of flowers. Flowers are never used in beds or borders. In fact, a severe discipline governs the use of flowers which are used at only one point in the house, the tokonoma, a special architectural alcove built for the purpose. Fresh flowers or plant materials are never used decoratively on the dining table or at odd points about the house; never worn as corsages; never used at weddings or funerals. Essentially as a matter of philosophy, flowers and plants are considered to have a very special life of their own as an expression of nature and are never used as decorations. The principles which govern these aspects of the garden come from the philosophy of Zen and they can mean not only one thing alone, but may have correlative meanings at the same time. No one principle therefore necessarily contains the whole meaning on its own.

The Zen Principles which relate to the Niwa are presented in the following pages: Fukinsei asymmetry or dissymmetry Kanso simplicity Koko austerity, maturity, bare essentials, venerable Shizen naturalness, absence of pretense Yugen subtly profound, suggestion rather than revelation Datsuzoku unworldliness, transcendence of conventional Seijaku quiet, calm, silent The fundamental and related concepts of Shibui, Wabi and Sabi are discussed on these pages:

Shibui

Wabi                       Sabi

About Professor Lennox Tierney UCLA - Bachelors Degree Columbia, NY - Masters Sogetsu Ryu, Tokyo, Japan - Doctorate Technical Work: Art Center School, Pasadena Former President of Schaeffer School of Design, San Francisco Professor Emeritus of the History of Asian Arts, University of Utah Former Curator of Asian Arts for San Diego Museum of Arts Current Curator of the Art of Japan for Utah State Museum of Fine Arts Art Director - Japanese Friendship Garden, San Diego Consultant / Donor, Mingei Museum, San Diego

Wabi-Sabi and Presentation Visuals

source: http://www.presentationzen.com/presentationzen/2005/07/wabisabi_and_pr.html

July 28, 2005

Wabi-Sabi and Presentation Visuals (part I)

I first learned of wabi-sabi while studying traditional Japanese Tea Ceremony ("sado") fifteen years ago in the Shimokita Hanto of Aomori, a rural part of northern Japan. A perfect place to experience traditional Japanese values and concepts. While studying Japanese Tea Ceremony, I began to appreciate the aesthetic simplicity of the ritual, an art that is an expression of fundamental Zen principles such as purity, tranquility, and a respect for nature and a desire to live in harmony with it.

The ideals of wabi-sabi come from Japan and the origins are based on keen observations of nature. By really seeing natural beauty for what it was, the Japanese were able to derive key ideals and concepts that are hard to explain in words and need to be experienced and felt to be best understood.
Wabi literally means "poverty" or lacking material wealth and all its possessions. Yet at the same time feeling free from depending on worldly things including social status. There is an inwardly feeling of something higher, then. Sabi means "loneliness" or "solitude," the feeling you might have while walking alone on a deserted beach...deep in contemplation. These two concepts come together to give us an appreciation for the grace and beauty of a scene or a work of art, yet fully aware of its ephemerality and impermanence.

Some Westerns may be familiar with the term wabi-sabi through  wabi-sabi-inspired design, a kind of earthy interior design which is balanced, organic, free from clutter and chaos, and somehow quite beautiful in its simple presentation, never appearing ostentatious or decorated.

The ideals of wabi-sabi are most applicable to such disciplines as architecture, interior design, and the fine arts. But we can apply the principles to the art of digital storytelling (presentations with AV support/integration) as well. It's a design philosophy, but also an approach and a way of thinking that transcends the design of things (including presentation visuals).

One ideal of wabi-sabi which is quite powerful and practical for us is the application of empty space. A graphic, for example, may be mostly "empty" except for 2-3 elements, but the placement of the elements within that space form a powerful message. The same approach can be applied to a room. Many Japanese homes have a washitsu, a traditional room with tatami mats which is simple and mostly empty. The empty space allows for the appreciation of a single item such as a single flower or a single wall hanging. The emptiness is a powerful design element itself. In this case, the more we add, the more diluted and less effective the design of our graphic, or living space, etc. becomes.

A style of Japanese painting called the "one-corner" style goes back some 800 years and is derived from wabi and sabi. For example, in the "one-corner" style, you may have a painting depicting a large ocean scene and empty sky. In the corner there is an small, old fishing canoe, hardly visible. It's the smallness and placement of the canoe that gives fastness to the ocean and evokes at once a feeling of calm and an empathy for the aloneness the fisherman faces. Such visuals have few elements, yet can be profoundly evocative.
 
Wabi-sabi embraces the "less is more" idea talked about today, yet often ignored. Visuals created with a sense of wabi-sabi, if you will, are ones which are never accidental, arbitrary, cluttered, or busy. They may be beautiful, perhaps, but never superfluous or decorative. They will be simple. They will be harmonious even if imbalanced. Steve Jobs' visuals are often profoundly simple.

Can we enhance our visual communication in a high-tech business world by examining old Eastern principles from centuries past? Sometimes the best gems are found in the most unexpected places...

Wabi-Sabi and Presentation Visuals (part II)

Work, if we're lucky, is a creative endeavor. Our presentations — high-tech or not — require our creativity in planning, designing, and delivering. Can ancient wabi-sabi principles apply to such a common task as a business or academic presentation?

Richard Powell, in his book Wabi-Sabi Simple, discusses how the ideas of wabi-sabi can be used today to make our lives better in various way, including our work lives. Take a look at what Powell says on creativity and think of ways this could apply to presentation design:

"The influence of wabi sabi on creativity begins with a simple premise: Do only what is necessary to convey what is essential. In bonsai and in haiku, you prune and trim what is nonessential in an attempt to shorten the distance between the observer and the observed. You carefully eliminate elements that distract from the essential whole, elements that obstruct and obscure....Clutter, bulk, and erudition confuse perception and stifle comprehension, whereas simplicity allows clear and direct attention."

Not all wabi-sabi-inspired principles will have an obvious application to presentation design. But take a look at this chart from pages 10-11 of Powell's book. Here the author is contrasting wabi-sabi ideals with that which is "slick and stylish, plastic, and faux." What Powell calls "Tech Slick." Technology usage is important the author says, but a balance is necessary.

ACTIVITY
From this table below, how many of the ideas can you apply to the design and use of visuals or to the planning and delivery of your presentations?

	Wabi Sabi	"Tech Slick"
	Nature focused Authentic Allows things to age Subtleties Intuitive Personal One-of-a-kind In the moment The whole Open and unresolved Appreciation Seasonal Flexibility Tolerates ambiguity Paradoxical Unrefined Elegant Fractal Organic Living Handcrafted Soft edges Patina Stone Listens Sees Receptive Slow Humble Plain Reflective Mindful Heartfelt Warm	Technology focused Copied Strives for eternal youth Bold and obvious Rational Impersonal Conformity and sameness Future oriented Separated into parts Works toward closure Depreciation Quarterly Stability Intolerance of ambiguity Black and white Refined Ornate Square and measured Geometric Artifact Mass-produced Hard edges Plastic Steel Talks Shows Arrogant Fast Proud Fancy Unconscious Mindless Heartless Cold