The Japanese way of seeing beauty in entropy

We tend to think of entropy as something “bad,” the inevitable tendency for matter to dissipate, for all living things to die. As embodied creatures, we naturally would prefer to avoid this downward spiral—for ourselves, loved ones, pets, creations, cherished objects and the systems we use in order to function. And because death is so mysterious and ultimate, it’s not surprising that it has been and continues to be primary subject matter for storytellers across all cultures and media.

Japanese artists have another way of looking at entropy. For them, wabi-sabi is both a worldview and an aesthetic perspective based on the acceptance and appreciation of impermanence and imperfection. I so much respect the shift in consciousness it requires. When entropy is viewed as impermanence, a natural and cosmic principle, the aging process can be seen as beautiful. It’s all about perception—how we see.

In Wabi-Sabi For Artists, Designers, Poets And Philosophers, American artist Leonard Koren points out that the Japanese hesitate to explain wabi-sabi, but most will claim to understand how it feels. According to Wikipedia, “wabi connotes rustic simplicity, freshness or quietness and can be applied to both natural and human-made objects, or understated elegance… It refers to the creation of beauty through the inclusion of imperfection, focusing on subject matter that is asymmetrical, austere, simple, quiet and modest. Also, it appreciates the randomness of nature and natural processes… And “sabi is beauty or serenity that comes with age, when the life of the object and its impermanence are evidenced in its patina and wear, or in any visible repairs.”

It regards the signs of dissipation or decay as beautiful—peeling paint, a wilting flower, rusting or pitted metal. According to Mr. Koren, wabi-sabi is “the most conspicuous and characteristic feature of traditional Japanese beauty.”

Andrew Juniper, owner of the Wabi-Sabi Design Company in the UK, observes that “If an object of expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi. It’s for this reason that the bowls used in Japanese tea ceremonies are rustic, simple, sometimes pitted and not quite symmetrical.”

It’s also why fine art and contemplative photographer’s are drawn to areas where entropy is well underway, including junk yards, abandoned structures, neglected neighborhoods and back alleys. When composed and lit well, textures born of age and weathering can be pleasing and interesting, at times dramatic.

Always, they present an opportunity to practice composition and explore one’s aesthetic. Images made in such places can evoke the sensibilities of aging, abuse and neglect. And for some, they can encourage contemplation.

By putting on a wabi-sabi “hat” or mindset, the artist can become more attuned to the subject’s characteristic energies—asymmetry, simplicity, quietness and imperfection, how the elements in a composition feel rather than look.

Wabi-sabi is neither smooth nor complex. It’s the bark of a tree and broken branches, cracks in a vase or brick wall, creases in a tablecloth, peeling paint or the random spill of oil on a blacktop surface. It’s not the smooth skin or perky expression of the young. Rather, it’s the character lines and calm demeanor that come with age.

Young and aspiring photographers tend to think they have to travel in order to find appealing subject matter. If the intent is to produce “calendar art” that may be so. But for those more interested in exploring through the exercise of their unique personal aesthetic, I recommend the practice of wabi-sabi. I also recommend working close to home because it presents more of a challenge to seeing with fresh eyes and activating the inner eye of understanding a subject’s essence and history beyond surface appearances. For instance, what does this or any expressive image evoke or reveal? What does it say about this object’s owner or user? Or human nature?

As perception expands and deepens, we better appreciate that entropy is a natural and cosmic process. Images of impermanence present the artist with a world of opportunities to explore his or her perceptual capabilities and connect to this awesome and beautiful force.

Our souls are all made of the same paper; our uniqueness, though, comes from the creases in that paper from the folding and unfolding of our experiences.

Jiddu Krishnamurti, Indian philosopher, speaker and writer

ABOUT THESE IMAGES (Images are not “photographs” until they are printed)

Rendering subjects in black and white is particularly conducive to wabi-sabi because the emotional appeal of color doesn’t overpower the characteristics of form, texture and simplicity in the aging process. One of the challenges for the visual artist then, is to see all things and all people as beautiful.

My other sites—

Love And Light greetings.com: A twice-weekly blog featuring wisdom quotes and perspectives in science and spirituality intended to inspire and empower

David L. Smith Photography Portfolio.com: Black and white and color photography

Ancient Maya Cultural Traits.com: Weekly blog featuring the traits that made this civilization unique 

smithdl@fuse.net