mono-no-aware and the theme of wild flowers and grasses
Intro
The aesthetic notion of mono no aware is rooted in the fabric of Japanese art as early as the 10th century. The very nature of this contemplative appreciation of life, imbued the art with a sense of longing, a gentle lingering feeling of knowing of the impermanence nature of all things.
While the theme of wild flowers and grasses has always been a popular motif in Japanese art. Their fleeting flowering time has made their depiction a creative challenge to the master artists of Japan.
With their abundance of colour, variety of shapes and fine fragrance, they can be found adoring limited edition woodblock prints, known as ‘surimono’, complex textile patterns, lacquer ware, ceramic, And off course, painted screens and scrolls.
Nature and the Four Seasons
Fields of undisturbed wild flowers, painted to mark a particular landscape - an edge of a stream, a high mountain top, or a deep lush valley, were intended to bring nature and its landscape indoors.
Using wild flowers, as a way to reflect on the ongoing change of seasons was an essential part of this artistic aesthetic. Large screens, depicting spring and summer wild flowers of all kinds and sizes, would represent hope and new beginnings of springtime, and the joyful high season of summer and its culmination.
'mono no aware’
While the theme of autumn flowers and grasses would suggest a time of letting go. A farewell from the warmth of summer days, and the arrival of the cold, darker winter months.
The movement of autumn wind through the long grasses, can almost be heard in beautiful painted screens, adding to the overall melancholy feeling. This sense of autumn melancholy, emphasizes the transient nature of life, and it is one of the essential aesthetic notions used in Japanese art.
It is known in Japanese as ‘mono no aware’. To mean something like - the awareness of the transience nature of things, with a gentle sadness of their passing.
The idea of mono no aware evolved from the Buddhist notion of the impermanence nature of life and living. Everything is impermanent, in constant movement, in an ever changing form and state. And yet, this notion has its roots even earlier, in Japanese culture of the 10th century. It can be found in early literature, such as the 'Tales of Heike' and 'Tales of Genji'. These novels, with their poetry and illustration, are telling the story of those who lost the battles, not those who won. Accepting the reality of change and loss as is, without overflowing emotion and drama, but, with a deep sadness of its passing.
The subtle tension, that appears between the sadness experience of being and the acceptance of it, is part of the nature of reality. It creates an echo, within which aesthetic and art forms up. Be it in literature, theatre, poetry or paintings. Art itself is being created within this very tension.
In the words of the 14th century monk Yoshida Keiko -
‘Are we to look at flowers in full bloom, at the moon when it is clear?
Nay, to look out on the rain and long for the moon,
to draw the blinds and not be aware of the passing of spring —
these arouse even deeper feelings.
There is much to be seen in young boughs about to flower, in gardens strewn
with withered blossoms.’
(translated by Donald Keene / in ‘Essays in Idleness')
Keiko emphasizes, that the 'before' and the 'after' of things are a more interesting experience then the thing itself. Therefore a straight brush line, or a full on blossom, are not in favor as much as the moment before the blossom appears, or the unfinished ink brush line on paper. A poem that is hinting of the story, but does not tell it all. A fleeting varying moment of beauty, within the impermanence flow of life. Yes, they will perish and wither away, and yet, we witness them in the now.
This aesthetic notion of mono no aware intends to include our senses as a whole experience. It is about the whispering sound of fields of grasses, and the soft fragrance of small gentian flowers. It is about the fine texture of pamper reeds in the wind, and clusters of radiance yellow fennels.
The poetry is in the painting and the painting is part of a poetry, lingering on and on. Just like the vanishing echo sounds of a temple bell, long pass its ringing.
Mono no aware unique aesthetic join the sadness and the drama with the knowing, and coming to terms with, the ongoing shifting of life, and the finding of harmony and beauty in this very nature of being.
And so..
Everything passes away, only to reappear in a different form and shape, the flowers, the grasses, The seasons and our lives. The theme of wild flowers in Japanese art invites us to reflect on this very notion. And yet, the great masters of Japan, with their deep observing eye, have successfully immortalized this in their beautiful artwork.
This short essay is dedicated to Prof. Jacob Raz, who first introduced me to the aesthetic of Japanese art and in particular mono no aware as it appears in poetry, theatre and fine art.
Learn More
> 'Wild Flowers' - Ink and colour artwork series by Talia check online gallery HERE
> For an in-depth Wild Flowers and Grasses Painting Course with Japanese ink and colour - check it out here
> Live workshop - 'Dragons and mountains' - Japanese ink painting workshop retreat with Talia at Mallorca studio - September 2024
Images credit copyrights
1. Wild Poppies I Suzuki Kiitsu (1796–1858) I Hanging scroll I ink and color on silk I 98 x 33.3 cm I MET Museum of Art
2. Flowering plants and vegetables of the four season I Anon Rinpa style I early 18th C. I right screen from Pair of six-panel folding screens I ink, light color, and gold leaf on paper I 163 × 372 cm I MET Museum of Art
3. Fields of susuki grasses I Muromachi period (1392–1573) I One of a pair of six-panel folding screens I ink, color, and gold on paper I 150.4 x 349.2 cm I Cleveland Museum of Art
4. Autumn Grasses in Moonlight I Shibata Zeshin (1807–1891) I Two-panel folding screen I ink, lacquer, silver, and silver leaf on paper I 66.4 × 175.3 cm I MET Museum of Art
Images from public domain sources. All efforts were made to respect copyrights owner where possible.
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