Viewed Sideways. Donald Richie

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СКАЧАТЬ silicon chips and transistors. Not the same as carved wood or chiseled stone, but created through a similar impulse. And with such an unformulated national philosophy (“Nature is for use”) this is not surprising. Everything is raw material, inanimate and animate as well.

      Not only is nature so shaped, but human nature, too, is molded. We of the West may approve of the dwarfed trees, the arranged flowers, the massaged beef, but we are disapproving when people are given the same attentions. Our tradition is against such control. Japan’s, however, is not. It welcomes it.

      Society is supposed to form. Such is its function. We are (they would say) all of one family, all more or less alike. So we have our duties, our obligations. If we are to live contentedly, if society (our own construct) is to serve, then we must subject ourselves to its guiding pressures.

      As the single finger bends the branch, so the social hand inclines the individual. If the unkempt tree is not considered natural, then the equally unkempt life can also play no useful part. So, the Japanese do not struggle against the inevitable. And, as they say, alas, things cannot be helped—even when they can be. This simplified life allows them to follow their pursuits. These may be flower arranging, or Zen, or kendo fencing. Or, on the other hand, working at Sony, Toyota, Honda. Or is it the other hand?

      The support, the supported. The structure of Japanese society is visible; little is hidden. The unit is among those things most apparent. The module: tatami mats are all of a size, as are fusuma sliding doors and shoji paper panes. Mine fits your house, yours fits mine.

      Socially, the module unit is the group. It is called the nakama. Each individual has many: family, school, club, company. Those inside (naka) form the group. This basic unit, the nakama, in its myriad forms, makes up all of society. The wilderness, nature unformed and hence invisible, is outside the nakama of Japan, and that wilderness includes all nonmembers, amongst them, of course, us, the gaijin (foreigners). The West also has its family, its school, its company, but how flaccid, how lax. They lack the Japanese cohesion, the structural density, and at the same time the utter simplicity of design.

      Land of the robot? Home of the bee and the ant? Given this functional and pragmatic structure, given this lack of dialectic (no active dichotomies, no good, no bad, no Platonic ideals at all), one might think so. But, no—it is something else.

      Let the Westerner sincerely try to live by Japanese customs, says Kurt Singer, Japan’s most perspicacious observer, “and he will instantly feel what a cell endowed with the rudiments of human sensibility must be supposed to feel in a well-coordinated body.”

      Does this not sound familiar? It is something we once all knew, we in the West as well. It is something like a balance between individuals and society. One lives within social limitations, to be sure. And if you do not have limitations, how do you define freedom? In Japan the result is individual conformity: each house and each person is different from all the others yet they are also essentially the same. The hand may shape the flower, but it is still a flower.

      If one answer to the ambitions of immortality is to tear down and precisely reconstruct the Ise shrines, then one answer to the problem of the one and the many (a Western dichotomy), one way to reconcile the demands of the individual and those of society, is the Japanese self, one in which the two selves become one.

      They are not, as Japan proves, incompatible. The individual and that individual playing his or her social role are the same. Just as the house and garden are the same. The nakama dissolves fast enough when not needed—and freezes just as fast when desired. To see Japan then is to apprehend an alternate way of thinking, to entertain thoughts we deem contradictory. Having defined nature to his own satisfaction, the Japanese may now lead what is for him a natural life.

      This natural life consists of forming nature, of making reality. Intensely anthropomorphic, the Japanese is, consequently, intensely human. This also means curious, acquisitive, superstitious, conscious of self. There is an old garden concept (still to be seen at, say, Kyoto’s Entsu-ji temple) that is called shakkei. We translate it as “borrowed scenery.”

      The garden stops at a hedge. Beyond that hedge, space. Then, in the distance, the mountain, Mount Hiei. It does not belong to the temple, but it is a part of the garden. The hand of the Japanese reaches out and offers (appropriates) that which is most distant. Anything out there can become nature. The world is one, a seamless whole, for those who can see it, for those who can learn to observe, to regard, to understand.

      —1984

      Japanese Shapes

      Man is the only one among the animals to make patterns, and among men the Japanese are among the foremost pattern makers. They are a patterned people who live in a patterned country, a land where habit is exalted to rite; where the exemplar still exists; where there is a model for everything and the ideal is actively sought; where the shape of an idea or an action may be as important as its content; where the configuration of parts depends upon recognized form, and the profile of the country depends upon the shape of living.

      The profile is visible—to think of Japan is to think of form. But beneath this, a social pattern also exists. There is a way to pay calls, a way to go shopping, a way to drink tea, a way to arrange flowers, a way to owe money. A formal absolute exists and is aspired to: social form must be satisfied if social chaos is to be avoided. Though other countries also have certain rituals that give the disordered flux of life a kind of order, here these become an art of behavior. It is reflected in the language, a tongue where the cliché is expected; there are formal phrases not only for meeting and for parting but also for begging pardon, for expressing sorrow, for showing anger or surprise or love itself.

      This attachment to pattern is expressed in other ways as well. Japan is one of the last countries to still wear costumes. Not only the fireman and the policeman, but also the student and the laborer. There is a suit for hiking, a costume for striking; there is the unmistakable fashion for the gangster and the indubitable ensembles of the fallen woman. In old Japan, the pattern was even more apparent: a fishmonger wore this, a vegetable seller, that; a samurai had his uniform as surely as a geisha had hers.

      The country should have resembled one of those picture scrolls of famous gatherings in which everyone is plainly labeled, or one of those formal games—the chess-like shogi perhaps—in which each piece is marked, moving in a manner predetermined, recognized, each capable of just so much.

      More than the Chinese, more even than the Arabs, the Japanese have felt the need for pattern and, hence, impose it—Confucius with his codes of behavior lives on in Japan, if not in China; the Japanese would perhaps have embraced that rigorous rule-book, the Koran, had they known about it.

      Here, however, the triumph of form remains mainly visual. Ritual is disturbed by the human; spontaneity ruins ethics. Japan thus makes most patterns for the eyes and names are remembered only if read. Hearing is fallible; the eye is sure. Japan is the country of calling cards and whole forests of advertising; it is the land of the amateur artist and the camera. Everyone can draw, everyone can take pictures. The visual is not taught, it is known: it is like having perfect pitch.

      To make a pattern is to discover one and copy it; a created form presumes an archetype. In Japan one suffers none of the claustrophobia of the Arab countries (geometrical wildernesses) and none of the dizzying multiplicity of the United States (every man his own creation) because the original model for patterns of Japan was nature itself.

      One still sees this from the air, always a good introduction to the patterns of a country. Cultivated Japan is all paddies winding in free-form serpentines between the mountains, or a quilt of checks and triangles in the lowlands—very different from the tidy squares of Germany, or that vast and regular checkerboard of North America.

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