Embracing imperfection is the way to attain peace.
Imperfect (noun.)
Not perfect; faulty or incomplete.
Late Middle English Imperfection, from Old French, from late Latin imperfectio, from late Latin imperfectus.
It can be said that embracing imperfection is the pathway to attaining peace, contrary to the pursuit of perfection which often leaves most of it’s followers disappointed, discouraged, and dissatisfied. With the Japanese practice of Kintsugi, imperfection is embraced and wholly acknowledged with all it’s naunces and idiosyncricies. Furthermore, the craftsman Bernard Leach implores the virtue of imperfect simplicity to be sewn into the fabricate of one’s work - hence disregarding the fruitless struggle for a flawless object and almost, instead, prizing the unadvoidable byproduct of life: imperfection. It’s uncontrollable nature thus forces us to review our own internal state and address whether we are actually at peace, and yet at the same time offering us through it’s non-judgemental disposition a way to find that which we seek.
The archetypal presentation of imperfection is considered an outcome to be avoided, instead the idiom is that ‘practice that makes perfect,’ not ‘practice makes imperfect.’ No one strives to achieve imperfection, or intentionally puts all their effort into seeking it. Nonetheless, it remains as everpresent within our society, while perfections’ allusive character taunts us from the mountain tops. Imperfection comes like a thief in the night, silent, sudden and unexpected. Favourite tea cups have been kissed by the lips of it and left never the same. Once whole and flawless, now on the floor in shattered pieces. The integrity ruined. The perfect curvature of porcelain thrust ruthlessly into the past. Or, at least, that’s how it’s been portrayed in the West. It is considered a disappointing scenario and ultimately ends up with the item either going into the rubbish or being repaired by a professional craftsman with the aim to cover up the cracks and replicate the same design; hiding the joint marks. Yet, in the East the practice, named Kintsugi, embodies an entirely different reaction. It was the solution for shogun Ashitaga Yoshimasa in 15 century Japan, who had a poor repair done on one of his favourites pots. It served as a rebuttal to the typical reponse of how broken pottery used to be dealt with. Kintsgui unashamedly brandishes the cracks and chips with gold. With the term meaning ‘Golden joinery’ or ‘connected with gold,’ it challenges the intial concept of just throwing out the items, and redefines our understanding of what we actually consider a flaw to be and how to deal with each one individually. The cracks are not shyed away under a copy-cat repaint or lamented for its flaws, but surprisingly increases in its value and becomes even more treasured. Not only this, but they tell a story richer than flawlessness could ever utter. The visual portrayal of the object’s life is not hidden away, why should it be? An irony begins to brew as our straightfoward understanding of imperfection now cannot be physically applied anymore. It’s disfigurement and defects are transformed into a strength and adds depth to its beauty, thus we must update our understanding of imperfection. This pot cannot; under the concept of Kintsugi; be called imperfect. The item has become one of a kind and cannot ever be replicated in the exact same way; thereupon creating something much more sacred than perfection. Once our understanding of this becomes consolidated, we’re able to see the two antonyms exist completely differently. Unlike the striving for the fragility of perfection, with it’s flimsy and unreciporcating nature, imperfection cultivates peace. It’s unapologetic, intentional and sturdy. It doesn’t leave so easily and it enters our home with no beckoning. Through embracing and entirely acknowledging the flaws and defects, one is able to enter a state of mind that accepts the scars history has tattooed onto the object, and understand that this is beauty.
This practice is further supported by the Japanese aesthetics and philosophies: Wabi Sabi and Shoganai. The term wabi is translated to meaning ‘actively appreciating imperfection, such as set-backs and despair, as beauty’ and Sabi ‘originates from the word lonely.’ The imperfect beauty that Wabi Sabi symbolises is found in the brokenness of a cracked vessel. The beauty is re-born through the rough edges of the porcelain, and is further highlighted through the gold powder that is applied. The beauty of it is that it cannot be worked at. It is not a skill that can improved by consistent effort each day. The imperfect beauty is born, not made. It is not a talent someone can aquire, nor does anyone wish to aquire it. It can only be brought into existence through an imperfect action, and it is only the gold that exaggerates it’s inherent nature. But, perhaps it is not typically desired because it cannot be controlled? We cannot decide when or how imperfection comes into existence. We can’t make edits to make something more or less imperfect. Imperfection just is. When imperfections occur, no matter how many barricades we put up, what is the point of fighting a battle we have no control over?
Wabi Sabi further implies that we see imperfections as opportunities for growth and resilience, they is something to be learnt, gained, from; not to be viewed at as a hinderance to success, but rather a different walkway that offers an engagement with life seperate to the dissatisfaction of perfection. The flaws and cracks are what differentiates and defines the items journey, marking them as individual items rather then the soulless footprints of the machine. Villianisation of perfection is not my intent here. It is the favouritism and narrow-minded view that I am in dispute with. The concept that seeking, and possibily, achieving perfection is the only path to success and thus peace is not true. Through embracing defects, instead of unrealistic standards, we can improve and change, find satisfaction and peace in knowning our efforts are not just valued on the basis of reaching perfection, hence we go on further to acknowledge that our success is based on what we determine it to be, and that doesn’t have to perfection. Kintsugi highlights a momumental moment in the objects life, and clearly states that this is something which shouldn’t be hidden. The time at which it cracked is simply a step in the larger, more important journey of it’s life.
In conjunction with this, the philosophy Shoganai represents the attitudes toward Kintsugi. It encompasses the willingness and increasing flexibility to accept things that cannot be changed; truly meaning ‘it can’t be helped, nothing can be done about it.’ It expresses the resignation and acceptance that the situation was unavoidable. In essence, it's a way of acknowledging that something is beyond your control and moving on. But, it then implies that there is peace and power in fully embracing and acknowledging your disappointments, but also understanding that nothing else can be done. It’s disheartening and the need to feel that is recognised before moving on into the light of optimism that Kintsugi brings.
