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YURIKO SAITO. “The Moral Dimension of Japanese Aesthetics” in Journal of Aesthetics and Art
Criticism, Volume 65, Issue 1, Page 85-97, Dec 2007

(Extract)

1. The Japanese aesthetic tradition is 3. In later centuries, the same design

noted for its sensitivity to, respect for, strategy extended to the placement and
and appreciation of the quintessential maintenance of plant materials. Instead of
character of an object. This attitude gives allowing unmitigated growth, inevitable
rise to a guiding principle of design that death, or destruction by natural
articulates the essence of an object, processes, Japanese gardeners
material, or subject matter, regardless of meticulously shape and maintain trees and
whether it is considered artistic. In this shrubs by extensive manipulation. Unlike
section, I show how this attitude is topiary in European formal gardens,
embodied in Japanese garden design, however, where shapes are imposed on the
flower arrangement, haiku composition, and plant materials regardless of their own
painting, as well as cooking and characteristics, a tree or a shrub in a
packaging. Japanese garden is shaped according to
its individual form. A fifteenth-century
2. The earliest expression of such a manual, for example, instructs the gardener
guiding principle of design can be found in to “observe the natural growth pattern of
the oldest extant writing on garden the tree, and then prune it to bring out its
design, Sakuteiki [Book on Garden Making], inherent scenic qualities.” The gardener
written by an eleventh-century aristocrat. should express the essential features of a
The author states that the art of garden particular material through elimination of
making consists of creating the scenic inessential and irrelevant parts. The whole
effect of a landscape by observing one art making here requires the artist to
principle of design: “obeying (or following) work closely with, rather than in spite of
the request” of an object (kowan ni or irrespective of, the material’s natural
shitagau). Referring specifically to rocks endowments.
here, this principle suggests that the
arrangement of rocks be dictated by their 4. Similar principles also govern the art of
innate characteristics. For example, the flower arrangement (ikebana), which was
gardener “should first install one main elevated to an artistic status during the
stone, and then place other stones, in sixteenth century. Although this art form
necessary numbers, in such a way as to begins, paradoxically, by cutting off a
satisfy the request . . . of the main living flower or branch, thereby initiating its
stone.” death, its primary aim is to “let flower
live,” the literal translation of ikebana, or to
“let flower express itself” (ikasu). This can
be achieved
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by further cutting of branches, leaves, and bamboo is embodied in the brush, the
blossoms so that only the essential parts ambience of bamboo will naturally
defining the particular plant can be clearly arise. This is the essence of painting.”
delineated. One contemporary
commentator summarizes that “the ultimate 7. This principle for respecting a natural
aim of floral art Is to represent nature in object also applies to producing objects of
its inmost essence.” everyday life. From lacquerware to
pottery, paper to textile, woodwork to
5. The same design principle applies to the metalwork, Japanese crafts are
art of representation, such as haiku, a 5-7-5 transmitted generation after generation,
syllable verse form, established in the firmly rooted in respect for the materials,
seventeenth century by Matsuo Basho methods, tools, and traditions of each craft.
(1644–1694). According to Basho, the Jack Lenor Larsen writes: “Craftmakers
raison d’etre of poetry is to capture the working within Japan’s ancient traditions
essence of nature by entering into and respond to the generations of passed-on
identifying oneself with it, summarized in knowledge. This collective memory Saito
his well-known saying: “Of the pine-tree The Moral Dimension of Japanese
learn from the pine-tree. Of the bamboo Aesthetics includes a deep respect for
learn from the bamboo.”10 For this, he material and process, and respect too for
calls for “the slenderness of mind,” as one the intended user.”
has to overcome one’s personal feelings
and concerns in order to grasp and 8. Packaging and food can be used to
appreciate the qualities of the objects for illustrate these principles. Traditional
what they are. Sometimes described as Japanese packaging is well known for its
“impersonality,” the ideal of haiku making aesthetic and functional use of materials.
should be object centered, rather than Various packaging materials are designed
subject governed. When successful, the not only for protecting the content, but
poet’s effort will “‘grow into’ (naru) a verse,” also for emphasizing their innate
rather than “‘doing’ (suru) a verse.” characteristics. The design is suggested by
the qualities of the material itself. For
6. Basho’s contemporary, Tosa Mitsukuni example, Japanese paper lends itself to
(1617– 1691), developed a similar theory folding, twisting, layering, tearing, and to
regarding the art of painting. For him, being made into a cord by tight twisting.
mimesis is the main purpose of a painting, A bamboo stalk can be sliced into thin
but it is “the spirit of the object” that the strips that are both flexible and strong,
painter must grasp and present. Toward this which can then be woven, or it can be cut
end, the painter can and should omit into sections in order to take advantage of
certain elements, making the overall its natural section dividers. Bamboo
effect “incomplete” and “suggestive,” leaves and bark can be used for wrapping
facilitating more readily the presentation food items because of their thinness,
of the essential characteristics of the flexibility, and gentle aroma. Similarly,
subject matter, such as bird-ness. some woods, such as cedar, impart a
Exhaustively faithful, realistic renditions, as distinct, pungent aroma to a package’s
found in both Chinese painting and his contents. Straw can be tied, woven, or
rival Kano School paintings, according to bound. Examples of Japanese packaging
Mitsukuni, are like prose, which contrasts that creatively utilize these native
with the poetry of Tosa School paintings. characteristics of materials include
Probably conscious of the teachings by ceremonial envelopes made with layers of
Basho and Mitsukuni, another painter, folded paper tied with paper cord, bamboo
Tsubaki Chinzan (1800– 1854), claims that baskets, cedar boxes for pound cake and
“even when painted with black ink, bamboo preserved seafood, bamboo leaf wrappers
is bamboo; with red ink, bamboo is also for sushi, and straw strings woven to
bamboo. If the spirit of hang eggs. These designs are not only
practical and economical; they also
express an
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attitude of quiet respect and humility

toward the material. 11. This attitude of respect toward the
innate characteristics of objects and
9. The aesthetics involved in Japanese food, materials is not limited to the Japanese
which engages all the senses, is also well aesthetic tradition. Partly influenced by
known. In addition to various forms of this Japanese aesthetic sensibility, the
sensory attraction, such as picture- arts and crafts movement that began during
perfect arrangement and choice of the late nineteenth century in Britain also
container, an important focus of upholds the notion of “truth to materials.”
Japanese food is the preparation of In calling for “honesty” in materials, John
ingredients. In general, each type of Ruskin, the initiator of the arts and crafts
ingredient is cut, cooked, and seasoned movement, claims that “the workman has
so that the best of its inherent qualities not done his duty . . . unless he even so
can be brought out. For example, fish far honours the materials with which he is
may be presented without having been working as to set himself to bring out
cooked or having been grilled whole with their beauty, and to recommend and
a skewer weaving through the length of exalt, as far as he can, their peculiar
the body in order to create a wavy shape qualities.” The subsequent arts and crafts
suggestive of its movement in the movement continued to advocate
water. Various condiments and respecting and working with “the very
ornaments, such as herbs, blossoms, essence of things.” Referring to textiles,
leaves, and seaweed, are arranged so that William Morris, for example, advises: “Never
their individual characteristics are forget the materials you are working with,
retained and showcased. In and try always to use it for doing what it can
nimono, a Japanese version of vegetable do best.” This attitude, according to one
stew, each vegetable is cooked and commentator, has been handed down to
seasoned separately to retain its contemporary craftspeople: “These modern
respective color, taste, and texture. They designers uphold aesthetico-moral
are then all arranged carefully in a bowl principles such as ‘truth to materials,’ and
together, but in a way such that each can try to bring out the unique quality of that
be presented in the best light, instead of material.”
being dished out as a heaping mound of
mixture. The outcome of such 12. Some contemporary artists also
laborintensive fussiness is that each embrace this respectful attitude toward
ingredient retains and expresses its own their materials. British artist David Nash,
characteristics, while also serving as a who works with wood and trees, is
complement to the others, and the described as engaging in “consistent
consumer enjoys the symphony with efforts to tap nature’s initiative.” Working
each instrument playing its own tune, as with materials available on site, Andy
it were. Goldsworthy and Michael Singer
emphasize the materials’ inherent beauty
10. Taking the Japanese lunchbox as a and sense of place, as well as celebrating
microcosmic illustration of this Japanese the ephemerality of their creations, one
aesthetic sensibility and worldview, Kenji essential feature of objects located
Ekuan, a noted industrial designer, outdoors. Another environmental artist,
describes its contents as follows: “Our Alfio Bonamo, describes a particular
lunchbox . . . gathers together normal, challenge and lively tension when
familiar, everyday things from nature, “working
according to season, and enhances their . . . directly with natural materials,”
inherent appeal The primarily felled trees, “not knowing exactly
aim of preparation and arrangement where the process will lead you, feeling and
revealed in the lunchbox is to include listening to what they have to say” and
everything and bring each to full life.” In trying to maintain “the essence of its
short, the mission of Japanese “culinary (each component’s) identity.”
artifice” is “to render fish more fishlike
and rice more ricelike.”
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his or her fantasy on another”; instead, such

13. Whether in regards to traditional a person is “willing to acknowledge the
Japanese arts, crafts, or contemporary art reality of other individuals, or even of the
projects, this principle of artistic production tree or the rock” and “to stand and listen.”
has an important moral dimension. If The sensitivity and respect for the objects’
prerequisites for our moral life include essential characteristics, underlying the
understanding, appreciating, and attitude toward design and creation
respecting the other’s reality, the capacity discussed above, help cultivate this moral
to experience and appreciate things on capacity for relinquishing the power to
their own terms can contribute to applying impose our own ideas and wishes on the
this principle. As Yi-Fu Tuan puts it, “one other.
kind of definition of a good person, or a
moral person, is that that person does not
impose

Wheter (si de consecion)