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Left:  A few of the many kinds of incense available in Japan.  

Right:  All five senses are associated with aesthetic ceremonies in Japan.  Here the authors and friends attend an incense smelling ceremony known as kōdō.       

Restraint and Exuberance 

Restraint implies concealing strong emotions and opinions and avoiding behavior that brings attention to one’s self. For example, a restrained individual does not dominate a social interaction, speak in an overly loud voice, or wear gaudy clothing. Furthermore, a restrained person does not act readily upon impulse. In contrast, exuberance implies throwing caution to the winds and expressing one’s self freely and openly in both words and deeds. In some ways, it is easier to understand an exuberant person because not as much is hidden. In traditional Japan, a restrained person was felt to be more refined and tasteful than an exuberant individual. The free expression of feelings, emotions, and ideas was associated with the individualism of Western cultures, the type of individualism that can work against the harmonious operation of the group. In modern Japan, values are changing. More and more young people have come to admire individualism with its flamboyant style. Even in traditional Japan, however, there were occasions, such as festivals, when individuals were allowed greater freedom of expression than in normal circumstances. The qualities used to describe restrained and exuberant individuals can also be used to describe art objects, architecture and artistic performances. In other words, restraint and exuberance have an aesthetic dimension. Aesthetic restraint includes qualities such as simplicity of form, subdued colors, and understatement, as exemplified by the Grand Shrines at Ise, a black ink painting, or by many of the ordinary surroundings of domestic life. Aesthetic exuberance includes qualities such as bright colors and bold designs, such as those that can be found in the mausoleums of the Tokugawa shoguns at Nikko or the advertising displays of an urban downtown area at night. 

Left:  The restrained aesthetic tradition found prehistoric expression in the simplicity and elegance of the Grand Shrines at Ise. Shown here is one of the thatched buildings in the inner sanctum.
 
Right:  The exuberant aesthetic tradition is exemplified by the Yomeimon Gate of the Toshogu Mausoleum at Nikko.

Some people are puzzled that a culture known for its subtle and refined sense of beauty could also give birth to the baroque designs and bright colors of the mausoleum shrines at Nikko. It is tempting to think that the numerous examples of aesthetic exuberance that can be found in Japan are exceptions to the rule. A deeper analysis, however, reveals that both the restrained and exuberant aesthetic traditions in Japan are legitimate expressions of Japanese taste and that they both play an important role in Japanese culture. The dialectic between the restrained and exuberant aesthetic traditions in Japan is like the Chinese concept of yin-yang, called in-yō in Japanese. In (represented by the dark part of the ying-yang symbol) stands for the negative, gentle, female, obedient and passive; whereas yō (represented by the light/bright side of the symbol) stands for the positive, strong, male, aggressive, and progressive. Rather than being antagonistic, in and yō complement each other and are in continuous interaction. In fact, in encompasses a little bit of yō, and vice versa. Although the analogy should not be stretched too far, there is a general correspondence between in and the restrained aesthetic tradition, on one hand, and yō and the exuberant aesthetic tradition on the other. Just as the earth alternates between night and day, it is common to alternate between aesthetic restraint and aesthetic exuberance in Japan, along what is referred to in subsequent discussion as the Restraint--exuberance Continuum. The relationship between the restrained and exuberant ends of this continuum is influenced by cultural rules that delineate the circumstances in which both restrained and exuberant aesthetic values and behavior are appropriate. An understanding of these rules and circumstances sheds light on Japanese culture and aesthetic expression. 

Left: Tranquillity is expressed in the simple, uncluttered interior of a traditional Japanese room.

Right: A downtown urban area at night exudes a sense of exuberance and excitement.

Spontaneity

Another major theme in Japanese art and culture is spontaneity. Spontaneity is associated with the reduction of constraints. There are various types of spontaneity. For example, it is usually considered desirable to be able, at least temporarily, to set aside the constraints associated with public life and career responsibilities. When one is alone, or relaxing with family members or close friends, it is possible to "let down one’s hair" and act "naturally." In an intimate social setting, there is little need to engage in impression management and one can express personal feelings, beliefs, and ideas with relative freedom.
 
Sometimes the constraints from which one seeks relief are those associated with domestic routines rather than with public life. The routines of domestic life have their rewards, such as providing a sense of security, but they can become boring if they are not broken by the occasional foray into something different. Worse, domestic life can be unpleasant if it is associated with unwelcome restrictions, such as those imposed by household responsibilities, poverty, an abusive spouse, or a harsh parent. Whether the sources of constraint lie inside or outside the home, an individual who feels constrained may search for experiences that bring a sense of freedom and spontaneity. Common ways to do this are to lose one’s self in private fantasy, a hobby, a sport, religious activity, or artistic endeavor. Another way is to search for diversions in the entertainment world or the excitement of a festival. It seems reasonable to hypothesize that the greater the constraints in the life of an individual, or the life of a society, the greater the search for spontaneity. This hypothesis seems to receive support in the case of Japan. Japan is a highly structured society with numerous constraints on behavior. It is also a society in which the search for spontaneity is well developed.

Left: Bright signs of a pachinko parlor, where participants lose themselves in the noise of a Japanese pinball game.

Right: This woman is preparing bright banners for Children's Day Festival.

In terms of aesthetics, spontaneity implies a certain freedom from rules in producing art objects and artistic performances. Although artistic activity may be preceded by years of intensive training, the artist, actor, or musician who acts spontaneously is free to engage in personal interpretation, invention, and experimentation. Spontaneity is a quality usually associated with an internal state (a sense of freedom that comes from reducing constraints); it is also a quality that can be used to describe external objects, surroundings, or events. For example, a Japanese garden, though carefully planned, can have a feeling of spontaneity, as can a festival. In other words, the spontaneous quality of the garden or the festival can inspire a feeling of spontaneity on the part of the observer or participant.