Japanese Harmony with Nature

“A Japanese Zen monk once described absolute beauty as “pure white snow in a silver dish.” This crystalline perception of beauty, the distilled, asymmetrical, modest interpretations of Japanese art and architecture are key to understanding the culture” (Brooke, Seiki, 2005, pg. 10)

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When picturing a Japanese garden, a variety of images come to mind; wood bridges, lanterns, small waterfalls, carefully placed stepping stones, with a layer of moss everywhere, or, alternatively, the famous zen image of rocks surrounded by white pebble geometrical designs. The general sensation these images transmit is one of inner peace, of mental serenity and deep connection with one’s self and what's around. A feeling of tranquillity that is completely intentional and precisely their reason of existence. They are man-created natural oasis where every detail is attended with the distinctively “Japanese art of imperfect beauty” (Lawrence, 2004, p.0). Inspired by a fascination with nature and with great intention to simulate a modified version of such, monks, gardeners, and the culture in general, have developed a complex system of unspoken laws and traditions to make living in harmony with one’s surroundings possible.

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As Reibstein (2005, pg. 1) describes it, the zen concept of “Wabi Sabi is a way of seeing the world that is at the heart of the Japanese culture. It finds beauty and harmony in what is simple, imperfect, natural, modest and mysterious.” It is frequently explained with traditional tale referenced here by Koren (1994, p.79):

“One such story is about Rikyu’s entrance exam before being admitted as a student of the famous tea master Takeno Joo. Rikyo was asked to clean Joo’s leaf-strewn garden. First he raked until the grounds were spotless. Then, in a gesture pregnant with wabi-sabi overtones, he shook a tree trunk, causing a few leaves to fall. Wabi-sabi, as evidenced here, is clean but never too clean or sterile.”

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It’s a concept of harmony with nature that doesn’t only relate to it by contemplation, but also by a modification or creation of such.

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A parallel expression of this same concept is seen in the art of Bonsai; a tree, is transplanted and made grow in a small pot, in such way limiting its possible size. In the growing process its caretaker gives great attention to cutting leaves, shaping trunk and branches, decorating its floor, amongst other details. The different actions intentionally accentuate the natural beauty of the original piece. It will be modified by human hands and tools and therefore it will be artificial, but all decisions will be made with great knowledge of how nature in its own would work, and how an artist’s touch can replicate and accentuate so. It’s a continuous process carried out as the bonsai grows, “a living art form that continually changes” (Paget, 2003, p. 6). A similar conception takes in when translating the language to entire gardens, the sense of calm and proximity to nature is acquired by creating a conceptually natural environment, intentionally assorting the elements in a seemingly random way, that’s actually giving great attention to detail, but with every intention not to look artificial. “The Japanese are known as lovers of nature, but what they esteem most is nature enhanced by human values. Nature that has been rearranged by human hands, named, and provided with specific significance is the most beautiful.” (Ekuan, 1929, p. 57)

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In fact, the traditional tea ceremony ritual, usually performed in purposely made tea-houses, and surrounded by gardens of the sort, is the maximum expression of such concepts. The ceremony itself starts inside the tea-house, but the way to it, is extremely important. The gardens are used to transition from street life into the time-capsule oasis that is the ceremony and to evoke the quiet and peaceful climate necessary. Having in mind the Japanese importance of time passing; gardens are made to ensure that seasons express at their fullest. Compositions give great attention to the variety of species included and distributed so there’s always something blooming in sight. “In autumn, joy is found in the whisper of the wind and on the shifting angle of the sun that heralds the precise transformation from season to season” (Ekuan, 1929, pp. 25-26).

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Although the extensive presence of nature and natural conception is very clear, and somewhat logical, when analyzing Japanese gardening, the appropriation of nature, and its overwhelming inspiration of all things is, more surprisingly so, also expressed in almost all other cultural manifestations. The complex world of Japanese food for example is extremely linked to its natural origins, much more than in most other cultures. Just as a carefully thought garden, a meal is methodically planned to include great variety of tastes, textures and flavors. “Every food has its appropriate season, ensuring that Japanese tastes are in harmony with nature” (Kosaki, 2005, p. 8), even the large quantity of ingredients is surprisingly linked to fulfilling the eating experience as a ritual for expressing the wonders of nature. It is usual to have a great number of different plates along the course of a meal, even the most basic one will probably include rice, miso soup, and two or three more small sized dishes.

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Also quite impressive is the complexity intended in the making and presenting of meals, the main courses of the meal include a variety of meat, seafood, vegetables and to enhance the sense of variety each one has to be prepared using a different method, grilling, deep-frying, steaming or simmering, amongst others. It doesn’t end with carefully cooked dishes though, the particular aesthetic conceptions in presentation have an important place on the Japanese table as well. “There is an excellent nutritional balance of foods from sea, mountains and planes -affording balance of flavors as well as health value. After a commodity brilliantly fulfils its functions, which is of course a necessity, what more could one hope for than to discover pleasure in the realm of beauty?” (Ekuan, 1929, p. 13). A great combination of plates, bowls and trays are assorted without symmetry, and usually matching contrary shapes between the food and its holder. To add to the intentioned, seemingly chaotic designs, a round-type dish will usually be served in a rectangular recipient and vice versa, but with great detail nevertheless. "It has been said of Japanese food that it is a cuisine to be looked at rather than eaten. I would go further and say that it is to be meditated upon, a kind of silent music evoked by the combination of lacquerware and the light of a candle flickering in the dark” (Tanizaki, 1933)

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The Japanese art of cooking and serving food could seem extremely elaborate, with numerous rules at all levels, but contrary to perception the act of eating is one of freedom, where a multitude of flavors take over the senses enhancing one another. Once on the table, it’s a much more flexible etiquette than in western civilization, where the diner choses their preferred order of the dishes and they are usually alternated. “The natural features of Japan are never viewable as an ensemble. It is perhaps for this reason that the technique of enjoying unexpected sequences through absorbing things a little at a time was so often followed” (Ekuan, 1929, pp. 25-26). A popular alternative to table meals is the bento box, a take away meal usually made at home, that maintains the strict rules of ingredient diversity even in its simplest forms. A big part of seasonal festivities are contemplations of nature and the food included in them is usually carried as such and eaten everywhere but if possible, in parks, temples or natural environments.

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Great presence of nature in Japanese culture and art is very much due to the relevance it has in the two major religions of the country, Shintoism and Buddhism. Most of the Japanese share faith between the two, although they don’t actually identify as either one, creating a climate for respect. Buddhism uses the contemplation of nature as one of it’s important spiritual practices. Turning it into a reason, as well as a setting, for meditation, especially the school of Zen Buddhism. Shintoism on the other hand, is the ancient religion of Japan, precisely fundamented on nature. “A form of animism, Shinto ascribes consciousness and personality to natural forces such as wind and rain, sun and moon, geological formations, any non-human living things” (Brown, 1995 p. 21) Both religions are still very present in everyday Japanese life, in part due to the profound respect for tradition the culture has developed. Ancient trees, standing for more than a thousand years, are sacred places, and are one example of the care given to objects with a long narrative before current times. A similar idea is visible in pottery, in the art of kintsugi, broken pots are repaired and their value increases afterward, treating breakage and repair as part of the object and its history, instead of something to dislike and throw away.

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The taste for traditional values and ancient places, as well as a direct relation to nature, is clearly experimented by users of a Ryokan, old-styled traditional inns spread out around the country that offer a turning of time and a break back to the ancient ways of living. “Described as the Shinto attitude for lack of a better term, the notions of natural purity, simplicity, and aesthetic as well as physical cleanliness have influenced all Japanese designs for living” (Grilli, 1992, p. 24). Especially in the oasis of Ryokans, it’s essential for a natural environment or a Japanese garden to be present, visible and ready for contemplation at all times. A vital part of such installations are the traditional Japanese onsen, originally natural hot-spring baths, installed outside. These reflect, once again, the importance of being connected to nature for Japanese citizens.

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Onsens, are a place for relaxation, enjoyment of nature and, surprisingly, socialization. The ritual is to get clean before moving to the actual baths, a process of leaving dirt and mental worries behind before stepping into the calming and soothing mood of hot water. Extreme importance is given to the presence of a natural environment. “For it is there that the bather slips peacefully into a sense of gentle harmony with his natural surroundings. Succumbing to the drowsiness brought on by leisurely immersion in the hot water, he drifts in a half-sleep, oblivious to the fretful concerns of everyday affairs and yet attuned to the trickle of the brook nearby, the rustling of leaves, and the chipping of birds overhead.” (Grilli and Levy, 1992, p.30)

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In matters of construction, it is believed that a carpenter before cutting a tree commits to putting it “to uses that assure its continued existence” (Brown, 1995, p .21). Temple and shrine carpenter, Tsunekazu Nishioka, while restoring the famous Yakushiji temple, has certified the teachings passed down by his master and the ancient way of constructing monumental buildings concord in an elevation of nature: Matching trees that grew on the northern side of the mountain to the north side of the building and the trees on the southern side should be used to the south side of the building. Creating again an ambiguous area where extreme importance is given to nature’s wisdom. Construction knowledge and spiritual believe merge forces for the preservation of natural elements as intact as possible. Brown (1995, p.27) writes “Different mountains make different wood” says Nishioka, adding that “building is a matter of matching the individual personalities [of trees as well as carpenters]” (Brown, 1995, pg. 28)

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“People in Japan are brought up to believe that there is such a thing as noble poverty, and though the average Japanese may not go to the extreme as the devout Zen priest, he is nevertheless prepared to accept the idea that nothing can be something.” (Seike, 1964, p. 17) The concept of making something out of nothing is clearly exemplified in the numerous nakaniwa -inner gardens- that can be seen in Japanese cities. It is well known that earthquakes in Japan are frequent. Because of that, it is mandatory to leave margins between buildings so they can move freely without damaging the adjacent house; physically separating them and leaving small breaches apparently without much use. Contrary to appearance, the Japanese mindset, takes advantages of the residual spaces and residents usually use them to create gardens similar to the ones seen in temples. This allows windows to be open on all facades and visually link the inside with a natural outside, alienating the living spaces from the busy city on the street, and creating a feeling of closeness to nature once again.

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There is a curious parallelism between the way the Japanese culture and tradition understand nature and the way its citizens live day to day life. Chesshire and Norman, (2011, p. 9) state “Everything in a garden -plants, rocks, lanterns and water- serves a role in the creation of a unified, harmonious and poetic picture. This is an art in which the whole is far greater than the sum of its parts" Something similar could be said about Japanese society, where all its members have a great conception of the whole more than their personal individuality. It is because of such conception and the teachings of profound respect that are taken from tradition (in gardening, cooking, art, ceremonies, rituals, architecture and even carpentry) that the Japanese society cares for others and for their surroundings to such extent.

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“In Japan, saving a universe of beauty from extinction means, at this late date, not merely preserving particular objects or buildings, but keeping a fragile aesthetic ideology alive in any form of expression available” (Koren,1994, pg.8-9) .