Asymmetry & Empty Space

George Jones & Sons, "Cairo," c. 1886.

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.