The Beauty of the In-Between: "Ma" and its Influence on Modern Minimalism
By Ayana Waki
To many, silence is eerie, and empty spaces are unnerving. Yet in Japanese tradition, both are considered beautiful and essential elements of design, philosophy, and communication. A perfect example of this is the Japanese garden; where silence is appreciated and tranquility is maintained as trees, rocks, and sand are placed far apart from each other, providing empty spaces that transform into ample breathing room to clear the viewer's mind and reflect on the infinite possibilities of nature. Or the simple, elegant beauty of calligraphy, in which the strokes of ink stand stately and solitarily on the otherwise blank page. However, in contemporary times, this adoration for vacant space has become somewhat universal, associated most recently –and most frequently– with minimalism.
But what is minimalism? In the modern age, a minimalist could be an individual whose principles align with the less is more approach, embodying a philosophy of living off life’s bare essentials. In art, minimalism is considered an extremist movement developed during the mid-20th century as an extension of abstract expressionism. In architecture, it refers to a design aesthetic characterized by clean lines, empty spaces, and structural repetition. Regardless of the term’s many iterations and nuances, minimalism’s popularity stems from not only its simple aesthetics, but also the benefits it has on our mental state; a feeling of tranquility and balance within. This state of mind is thought to stem from “ma,” a concept of space and spirituality that derives from Zen Buddhism.
What is Ma? Eastern Views on Empty Spaces
Ma is described as a pause in time, an interval, or emptiness in space. In Western philosophy, space taken up by objects is viewed as positive, and the space around it - usually invisible - is referred to as negative. Yet in traditional Eastern thought, rather than perceiving emptiness as something inherently negative, vacant areas are considered positive, naturally complementing the object it surrounds. As a result, this space that is deliberately left vacant is not seen as an absence, but instead an essential element, as without it, the work would be unfinished.
A similar concept is yohaku no bi. Whilst ma is often something intangible, yohaku no bi consists of tangible objects such as faint paintings of clouds in the background of a painting or white pebbles in a garden. An early example of Yohaku no bi can be seen in traditional Japanese ink paintings including the landscapes created by painter Ike no Taiga, where the brushstrokes form a mountainous shape, yet it is the abstractions and the surroundings around the primary object that truly complete the artwork. Another is the usage of white pea gravel in Japanese gardens. The uniformity in shape and color of the gravel contrasts heavily with the green scenery. Despite the space not being physically empty, the white gravel creates an illusion of a seemingly vacant space, and as a result, allows us to empty our minds and invoke a meditative state.
The History of Ma in Zen Buddhism
The origin of this appreciation for empty spaces can be traced back to the philosophy of Zen Buddhism, with strong connections to Confucian concepts as well. Referring to all spaces between edges that can be found from the beginning to the end of life, the emptiness of ma is thought to be filled with feelings and energy. This momentary pause can also show the act of selflessness and leave time for spiritual reflection.
In Zen Buddhism, emptiness is a state of being completely object-free in time and eternity, where nothing can interfere. Although this concept of emptiness can be misinterpreted as sheer nothingness, it is the state of infinite possibilities. When this state is accomplished, a sense of consciousness is cultivated as time passes and the practicing individual and nature become one; the mind becomes active, allowing them to hear the sounds coming outside of the space in which they are situated, being able to deeply appreciate the environment that surrounds them.
Ma in Traditional Noh Theater and Ikebana
Many guiding principles for early traditional arts, including ikebana and Noh theater, have been formed surrounding the tenets of this philosophy and have continued unbroken for countless centuries.
Ikebana, for example, is a Japanese art form involving the act of arranging flowers. The word is comprised of two Japanese characters – the former ikiru meaning to live and the latter hana meaning flower – and the term can be loosely translated to the act of giving life to flowers. Compared to traditional Western techniques - entailing a more free-form arrangement of flowers in the shape of a triangle, circle, or oval - ikebana adheres to a strict set of rules; where each flower is situated depending on its height, the lines and shapes formed because of their placement are carefully considered, and the space created between the flowers is meticulously calculated. This is particularly because harmony is maintained, and respect is paid to nature when the balance between the object and the space between is perfected; something that is highly valued in the art form.
Similarly, ma is considered integral in the traditional act of Noh theater. Established during the 15th and 16th centuries by playwright and theorist Zeami alongside his father Kan’ami, Noh theater is a performance technique that heavily relies on the storyteller’s visual appearance and movements to drive the narrative. Involving different story types - either based on tales written in the Muromachi Period (1336 to 1392 CE) or inspired by the significance of religion and spirituality - the dialogue in Noh is sparse, and a certain silence and static lingers around the theater, with the performance containing mostly moments of stillness. Called senu-hima, these moments are not to be underestimated, as they are used to connect one motion to the subsequent motion, breaking the tension between the two.
Minimalism in Modern Art, Design, and Everyday Communication
Albeit its rich history, the usage of empty space can also be seen as practiced by many contemporary artists. Take the works of Tadao Ando. Considered a pioneer in the minimalist movement in architecture, Ando is renowned for his use of negative space and spatial circulation. His work, the Church of Light, is a prime example of this. Developed for the Ibaraki Kasugaoka Church, the chapel is constructed as a concrete box intersected at a 15-degree angle by a free-standing wall. The most significant feature of the space is the cruciform opening situated behind the altar. This opening allows external light to flood into the interior. As a result, the cruciform comes to life and acts as the centerpiece of the space as natural pools of light beam in through the cracks.
Another example is the work of Rei Kawakubo. A profound designer mostly known for revolutionizing the fashion industry with her avant-garde creations, Kawakubo has, in previous interviews, shared her appreciation for the in-between or the concept of ma. This can be seen in her collections that provoke conventional formalities. This is done as she questions the roles of both the object and its surroundings, playing with the dualities that are formed consequently. The dualities that have been explored throughout her works include, Absence/Presence; Design/Not Design; Fashion/Anti-fashion; Model/Multiple; High/Low; Then/Now; Self/Other; Object/Subject, and Clothes/Not Clothes. An example of how she addressed a multitude of these concepts can be seen in her Spring 1997 collection titled Body Meets Dress - Dress Meets Body. In this collection, also referred to as Lumps and Bumps, Kawakubo distorts the spaces that are usually created when a garment hits a female figure. By doing so, she challenges the concept of the in-between, making us feel uncomfortable as the clothing does not create space in conventional areas but rather artificially constructs lumps gathered on the torso or the shoulders.
Not only in modern art & design but in everyday life, silence or ma is highly valued and considered the moment when meaning is configured. Consider how Japanese people bow. A momentary pause is taken after a person bends over. This is to ensure there is enough time to pay respect and convey their feelings through their actions. Another is the structure of the Japanese language itself.
Grammatically, the subject of conversations can be naturally deduced and often remains deliberately left unsaid as a result of the mutual understanding between communicators. No unnecessary words are required for clarification. This is also why reading between the lines or ‘reading the air’ is considered a trait of a person with high intellect in Japan.
An awareness - and appreciation - of space exists everywhere in Japanese society, not just in physical creations or discussions of aesthetics, but also in the language, the interactions between humans and nature, and the foundations of spiritual philosophy. While the origins of this attention to absence might have originated with the teachings of Zen Buddhism and ma, the impact of this perspective has extended into all areas of life. Whether walking through a Japanese garden or admiring a momentous building of Ando’s, the role that emptiness plays is inescapable. And with it comes a decluttered mind, a tranquil state, and a deep reverence for the interaction of presence and absence.
About the Author: Ayana is a freelance journalist based in London, UK originally from Tokyo, Japan. By exploring topics in Japanese fashion, food, art, and design, she aims to reconnect with her heritage that she once neglected. Currently, she is doing an MA in fashion journalism, researching the extent of media's influence on how we interact with fashion communication and clothing.
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