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Explore the role of ornament in Japanese aesthetics with a special talk by leading art writer Hashimoto Mari, curator of Japan House London’s current exhibition Kumihimo: Japanese Silk Braiding by Domyo.
Art from Japan is often associated with restrained expression, appreciation of simplicity and the significance of empty space, with its image outside of Japan being mostly shaped by Zen aesthetics. In her richly illustrated talk Hashimoto Mari shines a spotlight on a lesser-known aspect of Japanese visual culture – its indulgence in the abundant and the flamboyant.
The speaker traces this tendency back to the Heian period, in the 12th century CE, when the tendency towards excessive decorativeness and splendour became dominant, dictating the interiors of Buddhist temples and imperial rooms alike. An inclination to lavish ornament, form and colour can be observed in sacred art, such as Buddhist sculpture and heavily decorated sutra scrolls.
The talk also provides numerous later examples to illustrate the topic, such as masterpieces of chashitsu – or tea house – architecture. The comparison of Toyotomi Hideyoshi’s lavish Golden Tea House and the modest Tai’an designed by the great tea master Sen no Rikyū allows the speaker to show that both concepts are, in fact, equally deeply rooted and significant in Japanese culture. Kumihimo – decorative silk braiding featured in the current exhibition – provides yet another example of an affinity for conspicuous and pronounced beauty.
Image: Gohikeman (Buddhist ritual decoration designated National Treasure). 11th century CE 43 cm x 54.5 cm, Nara National Museum © ColBase (https://colbase.nich.go.jp/)