Ann Kameoka and H. E. Davey: Excerpt from The Japanese
Way of the Flower
Not attempting to fill up all of the space in a composition
is another form of asymmetry commonly found in Japanese art.
Kado makes liberal use of empty space, which invites the
imagination to complete the arrangement, thus drawing the
viewer into the work of art. In other words, the unfinished
asks to be finished. That which is unfinished is in harmony
with life's dynamics of constant change and evolution. Again,
asymmetry does not necessarily indicate a lack of balance.
Just the opposite is true in kado, an art based upon a
unification of opposites (in/yo, as discussed in
Chapter 1) in the form of a balanced imbalance. Arriving at
"unbalanced balance" can be thought of as a kado
version of a Zen koan, a metaphysical question that
transcends the limitations of logical thought.
The use of asymmetry, incompleteness, and unevenness can
also be witnessed in Japanese minimalist ink painting,
brush writing, and even classical architecture.
In Japanese flower arrangement, if an overly long branch
is used on one side, some shorter plant material must be
used on the opposite side to create balance. In Western
flower arrangement, an equally long branch might be placed
on the opposite side, which would negate asymmetrical
balance and evoke a rigid, static, symmetrical feeling.
Kado's irregular balance makes use of combinations of
contrasting elements that are in keeping with the spirit
of in and yo. Basic in/yo patterns of proportion are made
up of the concepts of "few vs. many" along with
"large vs. small," and the fundamental number
of materials utilized is odd (seven or five or three),
which promotes asymmetrical balance. The viewer's eyes
move from the "few-small" element of the
arrangement to the "large-many" aspect, which
draws him or her into the work more fully. Kado's basic
proportions and number of materials are also tied into
the heaven-earth-humanity trinity, or triangular balance,
which you will have a chance to understand through hands-on
experience later in this book.
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