Some interesting Japanese stands

Attila Soos

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Attila,

This is where we differ, a good display should keep the viewers eyes "in" the display and not send them out into the horizon. The same principle applies to bonsai design.


Will

Well, the horizon is there for a reason. That's where the traveller is heading. You may choose to ignore it, but then the painter wasted his time, with all those nice color combinations.

Of course, once you've reached the horizon, you are welcome back to the center, unless you want to stare at the bare wall.:D
 

Attila Soos

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...remember Carl's article at AoB about the role of the Tokonoma window. He was speculating that one of the funcions of the window was to allow the eye to "leave the scene".

If you want the eye to stay, you better take off that window.;)
 
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Attila,

One question.

What is the purpose of a triangle in bonsai design and also in a display?


Will
 

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What is the purpose of a triangle in bonsai design and also in a display?

Jumping in here (good conversation btw) when the accent is on the right I STILL see the triangle. It is just invisible. THAT is what causes the tension in my opinion. It is like my imagination feels the void on the left side, which is emphasized even more by the tree leaning into it.
 

Attila Soos

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Attila,

One question.

What is the purpose of a triangle in bonsai design and also in a display?


Will


The triangle is the module of spatial organization in Japanese aesthetics for several reasons:

1)It is the simplest two-dimensional shape, generated by the fewest points. This is very important in a culture where simplicity is key.

2)It is the most stable form of stransmitting forces from one point to another (structural engineers use it a lot in their designs, such as bridges, buildings, etc.)
The three sides of a triangle represent the three forces: horizontal, vertical, and diagonal. You can imagine the sides as vectors.

3)The triangle has a powerful capacity to create a sense of movement. We start with the perfectly stable, equilateral triangle that has no movement (see the pyramids, sitting Buddha - these are symbols of stability) and, as you change the length of the sides, you start creating movement. It is a very versatile tool to create visual movement.

These are just a few. There are others, such as the power of number 3 in the history of mankind, linking heaven to earth, etc, but these are more or less culturally influenced reasons.

Naturally, the triangle is not a Japanese invention, but they have made the most effort in incorporating it in their aesthetics and also articulated its use from a practical standpoint.
 
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Thanks Attila, we are in agreement then on the role of the triangle in displays and in the creation of a bonsai, well maybe....The triangle works because it creates a line for the eye to follow from one point to another, a non symmetrical line that is non unobtrusive, and leads the eye back to the subject matter without sending it out into the never never land. This never never land needs to be there to avoid a captured, enclosed feeling that causes uncomfortableness.

Back to the tokonoma window....why is it that they eye does not end up there, stuck at the route of escape? In the excellent examples of paintings Carl gave us in his article the windows or doorways do not also draw and hold the eye, instead they give the viewer a sense of freedom, comfortableness, ease.

Which brings me to another question....why is it that we display the bonsai on the opposite side of the tokonoma window or light source? Could it be that being so close to the escape route, our eye would never travel over the objects being displayed but instead be focused on that which should not be noticed at all?


Bear with me, I am not only trying to undestand better, but also I have a point, I think.




Will
 
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Jumping in here (good conversation btw) when the accent is on the right I STILL see the triangle. It is just invisible. THAT is what causes the tension in my opinion. It is like my imagination feels the void on the left side, which is emphasized even more by the tree leaning into it.

It is true that no matter where the accent is placed, there is a triangle. This triangle will vary in size and shape depending on placement and that is what this conversation is about, I think, why does one placemnt (triangle shape) work, while another does not.

It should be noted here that this is a two point display technically, a informal display in which a bit more leeway is granted as far as placement goes. However, the direction of flow and communication between the tree and accent must still be considered, in fact with two ojects we are forcing the triangle upon the display, instead of using the center of gravity of each object as is commonly done, we are splitting the tree, treating the display like it was a formal or semi formal display with three objects. An addition of a stone or a scroll would change things dramatically.



Will
 

Attila Soos

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Which brings me to another question....why is it that we display the bonsai on the opposite side of the tokonoma window or light source?

The simplest answer has to do with the same Principle of Steelyard, having the window and the bonsai standing next to each other would shift too much visual weight on that side of the display (two large elements of the display being close to each-other), creating an imbalanced feeling.
 
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