Asymmetry & Empty Space
George Jones & Sons, "Cairo," c. 1886.
Zen Influence
One of the key characteristics of Japanese art, which was perhaps the greatest influence on Aesthetic art, was asymmetry and empty space. The lack of symmetry can be traced to the Zen and Taoist conception of perfection, which emphasizes the process through which perfection is sought, rather than perfection itself.
The benefit of an asymmetrical design, is that it is more dynamic and invites the viewer to mentally complete the incomplete. Asymmetry evokes a sense of movement and leads the eye, inviting the viewer to explore and interpret.
Going hand in hand with asymmetry, empty space allows for a clear focal point and the participation of the viewer to complete what has only been suggested. The key idea is simplicity and the suggestion of growth and improvement.
It's unlikely that many of the anonymous designers of Aesthetic transferware had any conception of Zen and Taoist philosophy and recognized the connection when they created designs with asymmetry and empty space. They were most likely merely copying what they had seen endlessly propagated from the leaders of the Aesthetic Movement, to the Japanese goods sold at stores like Liberty's and the Japanese-inspired goods flooding the market.
Examples of Asymmetry in Japanese Art
Katsushika Hokusai, "Red Fuji," from Thirty-Six Views of Mount Fuji, c. 1830-32, woodblock print.
Hasegawa Sadanobu, "Snow Scene at the Temple of the Golden Pavilion," from the series Famous Places in the Capital, c. 1870, woodblock print, Museum of Fine Arts Boston, USA.
Kitao Masayoshi, "Bunting and Cherry Blossoms," from the album A Compendium of Pictures of Birds Imported from Overseas, 1790, woodblock print.
Kanō Sanraku, "Plum Tree," early 17th century.
Examples of Empty Space in Japanese Art
Utagawa Hiroshige, "The Plum Garden at Kameido," from One Hundred Famous Views of Edo, 1857, woodblock print.
Suzuki Kiitsu, "Morning Glories," early 19th century, pair of six-panel folding screens, ink, color, and gold leaf on paper, Metropolitan Museum of Art, USA.
Examples of Asymmetry & Empty Space in Aesthetic Transferware
Old Hall Earthenware Co. Ltd., "Hampden," designed by Christopher Dresser, c. 1861-1884.
Powell, Bishop & Stonier, "Ducklings," c. 1880-1890.
George Jones & Sons, "Peach Blow," 1890.
William Brownfield & Son, "Sylvan - The Haunt of the Snipe," 1875.
New Wharf Pottery Co., "Tennyson," c. 1884.
Unknown Maker, Unnamed Pattern, c. 1880.