Moreover, the Japanese evade symmetry, in the
unit of their repeating patterns, by another simple device--that of
numbers. They make a small difference in the number of curves and of
lines. A great difference would not make the same effect of variety; it
would look too much like a contrast. For example, three rods on one side
and six on another would be something else than a mere variation, and
variety would be lost by the use of them. The Japanese decorator will
vary three in this place by two in that, and a sense of the defeat of
symmetry is immediately produced. With more violent means the idea of
symmetry would have been neither suggested nor refuted.
Leaving mere repeating patterns and diaper designs, you find, in Japanese
compositions, complete designs in which there is no point of symmetry. It
is a balance of suspension and of antithesis. There is no sense of lack
of equilibrium, because place is, most subtly, made to have the effect of
giving or of subtracting value. A small thing is arranged to reply to a
large one, for the small thing is placed at the precise distance that
makes it a (Japanese) equivalent.
Pages:
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82