Abstract

In lieu of an abstract, here is a brief excerpt of the content:The Idealization of Contingency in Traditional Japanese AestheticsRobert Wicks (bio)In many popular writings that date from the initial decades of the twentieth century, and also in recent scholarly studies, "Japanese aesthetics"—insofar as we can speak sweepingly of a complicated, multidimensional, and dynamic historical phenomenon—is characterized with a set of adjectives whose present linguistic entrenchment is clearly evident. Specifically we read that traditional Japanese aesthetics is an aesthetics of imperfection, insufficiency, incompleteness, asymmetry, and irregularity, not to mention perishability, suggestiveness, and simplicity.1 Given this collection of qualities, we are presented with a matching set of paradigmatic Japanese aesthetic experiences and objects, both as illustrations and as legitimations of this close-to-standard portrait. Examples include the suggestive moon covered by drifting clouds, the irregularly formed ceramics of ceremonial teacups, the simple and asymmetrical arrangement of unpolished rocks in the dry landscape garden, the bold and dashing monochromatic strokes typical of Zen calligraphy, transient cherry blossoms, serene and cloud-capped mountain summits, lonely thatched huts, sunsets in the foggy twilight, the call of a crane that breaks through the silence, and the light autumn rain that drizzles upon a secluded pond.Upon further reflection, it becomes noticeable that some familiar Japanese aesthetic objects do not easily conform to this standard picture, and this raises doubts about the typical characterization of Japanese aesthetics. The quintessentially Japanese shōji screens and tatami mats, for instance, are uniformly rectangular rather than irregular in form. They are, moreover, neither asymmetrical, nor imperfect, nor incomplete, nor insufficient. How then, can these perfectly regular screens and mats—items crucial to the aesthetics of Japanese domestic architecture—fit neatly into the usually encountered portrait of traditional Japanese aesthetics, if it is said to be fundamentally "the worship of imperfection"?2 Or similarly if "imperfection" is [End Page 88] the keynote of this aesthetics, how does one explain the meticulously raked surfaces of the dry landscape garden or the impeccably perfected movements requisite for performing the Japanese tea ceremony?3Since such examples do not obviously fit into an "aesthetics of imperfection and insufficiency," some reconsideration of the prevailing characterization of Japanese aesthetics is needed to accommodate these, along with other examples of "perfected" items and arrangements. In short, the main difficulty is that the concept of "perfection" has been underthematized.4 To develop a revaluation of the presently submerged status of "perfection" in most scholarly discussions of Japanese aesthetics, I will highlight the familiar principle of aesthetic complementarity but contextualize the experiential foundations of this principle in a specifically Japanese-philosophic manner, namely, in reference to a fundamental feature of time-consciousness, as described by Dōgen (1200-53). This historical grounding will align the principle of complementarity with some of the acknowledged Zen Buddhist sources of traditional Japanese aesthetics.5 The upshot will be that the above-cited collection of adjectives typically used to describe the prevailing atmosphere of Japanese aesthetics—imperfection, asymmetry, incompleteness, suggestibility, etc.—presents only half of the aesthetic and philosophic story and, moreover, tends to pass over what can be appreciated as a more consequential underlying concept, namely, the idea of "contingency."In what follows, basic reflections on the phenomenology of time-consciousness will lead to the claim that, in many paradigmatic instances of traditional Japanese aesthetics, we have before us a situation that is aptly describable as "the idealization of contingency." This involves the assertion of a philosophic proposition through an aesthetic presentation (i.e., the proposition is expressed using metaphor, symbolism, or analogy). In the case of traditional Japanese aesthetics, the main proposition is the Buddhist-associated one that the foundation of things is contingent, conditional, and nonabsolute (i.e., there are no absolute foundations). The aesthetic presentation of this proposition will, as we shall see, make ample room for "perfection" in understanding Japanese aesthetics: By means of juxtaposing contingent, perishable individuals (which usually have an "imperfect" appearance) against a perfected, polished, and idealized background, the contingency of the individuals is thereby aesthetically highlighted and made more readily appreciable.The resulting criticism of the standard characterization is thus a simple one: The typical group of concepts used to describe traditional Japanese aesthetics has neglected to give due...