Zen emptiness: application and exploration of Zen philosophy in modern minimalist art designAbstract:
This article adopts literature analysis and case study methods to explore the application and integration of Zen philosophy in modern minimalist art design, aiming to reveal the emotional resonance and aesthetic experience of Zen philosophy integrated into minimalist design for viewers. This article deeply analyzes the core concept of “emptiness” in Zen philosophy, explores its inherent connection with minimalist design principles, and compares and analyzes contemporary classic design works, revealing the unique role of Zen philosophy in enhancing the spiritual connotation and aesthetic value of design works. The research results indicate that integrating Zen philosophy into minimalist design endows works with deeper cultural and spiritual connotations and enhances viewers’ emotional resonance and aesthetic experience. This integration provides new perspectives and methods for modern design practice, which helps promote the diversified development and innovation of the design field.
Keywords:
Zen Buddhism; Modern Minimalism; Art; Design
Resumo:
Este artigo adota métodos de análise de literatura e estudo de caso para explorar a aplicação e integração da filosofia Zen no design moderno de arte minimalista, com o objetivo de revelar a ressonância emocional e a experiência estética da filosofia Zen, integrada no design minimalista, para os espectadores. Este texto analisa profundamente o conceito essencial de “vazio”, na filosofia Zen, explora sua conexão inerente com princípios minimalistas de design, compara e examina obras contemporâneas de design clássico, revelando o papel único da filosofia Zen no aumento da conotação espiritual e o valor estético dessas obras. Os resultados da pesquisa indicam que integrar a filosofia Zen em design minimalista proporciona uma conotação cultural e espiritual mais profunda, e melhora a ressonância emocional e a experiência estética dos espectadores. Essa integração proporciona novas perspectivas e métodos para a prática moderna de design, que ajuda a promover o desenvolvimento diversificado e a inovação desse campo.
Palavras-chave:
Budismo Zen; Minimalismo moderno; Arte; Design
Introduction
With the development of globalization and informatization, new trends in modern art and design are emerging, and minimalism, as one of the main design languages, has received widespread attention in recent years. Its core feature is to remove unnecessary decorations and express rich content concisely. Zen philosophy emphasizes inner emptiness and tranquility, which bestows the minimalist design concept with rich spiritual connotations and unique aesthetic guidance. Current research largely concentrates on formal imitation or simple symbolic references, neglecting a deeper exploration and interpretation of Zen philosophy. By combining Zen’s ethereal philosophy with modern minimalist art design, the potential influence of Zen on contemporary design aesthetics can be explored in depth. This exploration can reveal specific applications in practice, offering valuable insights for promoting innovation and development in the field of design.
Zen culture originated from Buddhist culture, which was formed by Chinese Zen masters who combined Buddhist culture with traditional Chinese one. Zen aesthetics evolved from the development of Zen thought, and its most unique charm is the pursuit of purity in nature and minimalism (Xiong, 2019). The Zen aesthetics, nurtured by this Zen culture, not only inject new vitality into traditional Eastern aesthetics, but also gradually permeate into various fields of design (Ji, 2023). Modern minimalist art design is a design style that is influenced by Zen philosophy and created using modern design techniques that conform to modern aesthetic tastes (Wang, 2021). It originated in the 1960s, when Zen philosophy was prevalent in the West.
The Zen philosophy of “emptiness” and “the law of nonduality”, as well as its advocacy of the concept of “no writing” and “one is many, many is one”, opened up the artistic ideas of minimalist artists and the forms of artistic expression such as “less is more” and “one blocks ten”, reflecting aesthetic characteristics such as uncertainty, nonlocality, and anti formalism, which greatly impacted various art fields in the West (Cao, 2020, p. 111).
The minimalist design style adheres to the principle of simple form and simple color, and insists on “function first”. The form is not rough, but more exquisite, aiming to display the simplest and most beautiful form with the least content, giving people infinite imagination. The result is a natural feeling of “returning to basics” and a visual talent of “less but more” (Dai, 2023). Essentially, minimalism is a logically self-sufficient system. Among them, reason is the principle; wisdom is the means; happiness is the end (Chakrapani, 2022). Minimalist art is also known as the simplest art (Zhang, 2022). Its simple yet not simplistic characteristics have freed art and design from tedious situations, allowing for the rational combination of limited resources and space, and opening up broader design paths for graphic design with high-quality forms of expression and profound cultural connotations. Although the application and exploration of Zen philosophy in modern minimalist art and design have brought profound influence, most studies simplify the Zen concept of “emptiness” and the aesthetics of minimalism into a purely visual style, while ignoring its profound spiritual connotation and cross-cultural interpretation.
In order to promote the further integration of Eastern and Western philosophical ideas with contemporary design practices, and enhance the cultural connotation and innovation of art and design, this article aims to explore the integration of Zen philosophy and minimalist design through case analysis and comparative analysis methods, in order to clarify its role in enhancing audience emotional resonance and aesthetic experience. By studying the application and exploration of Zen philosophy in modern minimalist art design, a new perspective is provided to explore the unique contributions and influence of Zen in the field of contemporary design, and corresponding inspirations are provided for modern art design.
1 Core philosophy of Zen Buddhism
Chinese Zen originated from Indian Buddhism and was applied to China in the Han Dynasty, becoming one of the eight schools of Chinese Buddhism. As a Sinicized Buddhism, Zen Buddhism has absorbed and integrated Laozi’s and Zhuangzi’s local metaphysics of since its founder Bodhidharma, and ultimately achieved perfection in Central China (Huang; Chen, 2019). Before Buddhism was applied to China, Zhuangzi’s aesthetics advocated for “emptiness and stillness” and “nonaction”, advocating for “centering on things” and understanding the world from the perspective of “things” to achieve “freedom”. In essence, it was a confirmation of nature’s “objectivity”. In a sense, Xuanxue aesthetics adopts a philosophical style of thinking to understand the essence of “nothingness,” reaching the realm of “emptiness” by taking the reasonably clear concept of “nothingness” as its guiding principle. The world is seen from the perspective of emptiness in Zen studies, where everything is thought to have been generated by the mind, is only an appearance and, ultimately, is nothingness.
The Mahayana School of Emptiness regards ‘emptiness’ as the ‘end of all things’, and it is evident that ‘emptiness’ is not only related to things, but also to the inevitability of their development. The so-called ‘emptiness’ actually refers to the ‘emptiness’ of things or the transformation of the spirit and emotions of things into ‘emptiness’, that is to say, there exists ‘emptiness’ based on things. The “emptiness view” in Zen regards all things as a simple intuitive phenomenon, but it is not a real phenomenon. It comes from cause and effect, so its essence is still ‘nothingness’. This does not mean that it does not exist, but rather that all things do not have fixed properties (Xing, 2024). All phenomena are the result of cause and effect, constantly changing. By understanding ‘emptiness’, one can break free from the attachments of worldly fame, material desires and obsession, and, thus, achieve a state of freedom that transcends existence and nonexistence.
The concept of emptiness originates from Zen aesthetics, emphasizing the use of simplicity and blank space to convey profound artistic conception, allowing viewers to experience inner peace and freedom in tranquility. In the realm of Zen, ‘nothingness’ is the highest essence of beauty, which takes ‘emptiness’ as ‘nothingness’ and ‘nothingness’ as the ultimate state of beauty. The term ‘ontology’ refers to the ultimate object, while the theory of ultimate object and origin is called ‘ontology’. The ultimate object and origin in Zen are referred to as ‘emptiness’ and ‘nothingness’. This also proves the Zen philosophy that everything is nothingness. ‘Emptiness’ is a fundamental characteristic of Zen philosophy and also the ontological category of Zen (Hao et al., 2021). The emergence of Zen aesthetics is a combination of foreign Buddhist culture Chinese, Confucianism and Taoism. Its central idea is to gain a transcendent, free and wise state of life through the perception of Buddhism (Song; Qin, 2019). Zen aesthetics takes Confucianism and Taoism as its foundation, absorbs the essence of Chinese local culture, takes “mind” as the starting point of aesthetic experience, and obtains a broad and limitless thinking space through the emotion of things.
The “heart” of Zen Buddhism is an important component of the development history of Chinese aesthetics. The Tang Dynasty painter Zhang Zao once said, “The external teacher is nature, and the internal source is the heart” (Hu, 2019, p. 12). The term “heart source” originated from Buddhism and was widely used by Zen Buddhism (especially Southern Zen). From an aesthetic perspective, the mind and nature cannot be distinguished (Haghani Hesari; Amin Khandaqi, 2024). The so-called nature is inseparable from the source. The heart is also inseparable from nature. For creator, color is the surface; the heart is the foundation; creation is the essence. Creation is the source of the heart, that is, reality. Therefore, its meaning has significant significance in transcending the dichotomy of subject and object, and discovering the world’s meaning. From the perspective of literature and art, it is to make the scene reflect the world around its origin, showing a state of unity between the object and the self. This is the reason pointed out by Pi Chaogang in his Outline of Zen Aesthetics (Pi, 2019). The aesthetic behavior of Zen is a perfect, free, pure and authentic activity, which is an ideal way of life and existence.
Its proposition is that “the nature of the heart is emptiness”, and “emptiness” should be the best interpretation of “lack of heart”. However, people have different understandings of it on this point. However, from the very beginning, Zen Buddhism has always aimed at the “heart”, which is to recognize the “intention”. Buddhism is the sole substance and method in Zen philosophy, despite the seeming contradiction between the two. There is nothingness, or emptiness, between the outside and inner worlds. Their relationship is nebulous and pure. It transcends all forms and does not cling to existence or nonexistence. Therefore, the philosophy of Zen, which is grounded in philosophy, represents a novel concept distinct from “using emptiness as beauty” and has had a profound influence on the evolution of aesthetic thought in subsequent generations.
2 Modern minimalist art design
Modern minimalist art design is a style characterized by simplicity, purity and functionality. Its purpose is to eliminate unnecessary elements and simplify the elements used in design into the most basic ones, thereby achieving a high degree of unity between form and function (Gumber, 2023). Minimalism advocates creating the most impactful visual effects in the simplest way possible, often using simple lines, geometric shapes, monochrome or minimal colors, and open spaces in design. The beauty of minimalist design lies not in intricate decorations, but in the sense of power and delicacy in simplicity, as well as the inherent meaning and inevitability of each design element it emphasizes.
It was born in the mid-20th century and has flourished in Europe’s and Americ’s art world since the 1960s (Dunlap, 2024). Its philosophy is in line with the concept of “form follows function” of Bauhaus school. The designers of the Bauhaus school advocated the elimination of unnecessary decorations, emphasizing functionality and simplicity, thus providing a theoretical basis for the minimum design in the future. During this period, minimalism was deeply influenced by modernist art schools, such as Kandinsky and Mondrian, in the early 20th century, which emphasized the purity of geometric shapes and colors, and had a direct impact on the visual language of minimalism (Wang; Wang, 2024).
Minimalism is not just an aesthetic style, but more of a philosophical view about life and consumption (Rathour; Mankame, 2021). It reflects the modern people’s excessive demand for material possessions and visual fatigue, as well as their pursuit of simplicity and balanced living. This genre reached its peak in the United States in the 1960s and 1970s, and it was revered by a group of avant-garde artists and designers who challenged traditional art and design concepts with minimalism. Its representatives include artists Donald Judd and Dan Flavin, who use the simplest geometric shapes and materials to create powerful visual effects under minimalism. Minimalism was the most influential way of thinking of that era, exhibiting the most minimalistic side, giving people a sense of cleanliness, while also showcasing an elegant taste (Wang, 2023). However, minimalism is not a singular concept in the ordinary sense. It elevates the popular expression of things to a highly generalized abstract form. It can be said that minimalism is a cultural sublimation.
With the development of the times, minimalism has been well reflected in various aspects, such as architecture, products, interior and fashion design, and has been integrated with contemporary lifestyles, forming a trend. In modern design, minimalism is not just a visual style, but a philosophy that advocates for a minimalist lifestyle, reducing reliance on material possessions and creating a more peaceful and harmonious living environment through simplified form and function.
Minimalist design, with its unique style and features, brings a quick and direct impact to the audience. The more minimalist the appearance it emphasizes, the more it contains a thirst for the work (Chomsky, 2023). The design philosophy of minimalism is to avoid designers using unnecessary image symbols, text and other elements to manipulate the audience’s thinking to control it. It focuses more on the concept and beauty of the design object itself, allowing the audience to better participate in the design of the work (Lee, 2021). It makes people feel the richness of concise design connotations, thereby generating more imaginative space. This is like the ancient pursuit of a sparse and dense structure in painting, which embodies the essence of minimalism, that is, design elements are not simply “reduced”, but more about balance and beauty. Minimalist designers believe that, by simply repeating and showing neatness, they can fully reflect the inherent rules of human life. Therefore, their design structure is unified, holistic, and can bring fast and direct visual and experiential experiences to the audience.
Influenced by Zen, Taoism and other cultures, Eastern minimalism emphasizes inner peace and harmony with nature. Its central idea is “no desire, no pursuit”, emphasizing inner peace and introspection. This philosophy guides minimalist design to focus more on blank and simple spaces, using simple design to express contemplation on the true meaning of life, while striving to convey deep culture and spirit through concise elements. Compared to intricate decorations and elements, Eastern minimalism places more emphasis on an ethereal beauty, emphasizing the harmonious coexistence between humans and nature. This design concept is not just material, and it can also infect users through sensory experiences, inspiring them to reflect on their inner selves and seek inner peace.
From an aesthetic perspective, Eastern minimalism advocates for “leaving blank space”, emphasizing the tranquility of space and the scarcity of elements, thereby achieving resonance with the viewer’s soul. The design details are carefully selected to evoke the viewer’s feelings and thoughts, allowing them to experience a spiritual realm beyond material objects during the viewing process. It values both simplicity in appearance and deep inner feelings, providing viewers with an immersive experience that goes beyond visual perception.
Compared to Eastern minimalism, Western minimalism is more influenced by contemporary art and industrialization. Western designers pursue a perfect combination of function and form, achieving visual effects by reducing decoration and emphasizing geometric shapes. This trend reflects both modern consciousness and technological progress, emphasizing the effectiveness of design. From a historical perspective, Western minimalism is a subversion of tradition and a challenge to the rules of classical art and design. In this context, the emotional resonance and aesthetic experience, exhibited by Western minimalism, demonstrate a tense relationship between rationality and sensibility, which makes it of paramount importance on a global scale.
In philosophy and aesthetic concepts, it places greater emphasis on the unity of reason and function. Influenced by modernist thought, Western “minimalism” is a pursuit of “simplicity” and “clarity”, reflecting a high degree of identification with “technology” and “industrialization”. Its aesthetic characteristic is to highlight the existence and function of things themselves. This design method not only pursues visual clarity, but also expresses the designer’s contemplation and response to contemporary life. By emphasizing geometric shapes and straight lines, a rational enjoyment is created in the viewer’s visual perception, which is a redefinition of beauty and a challenge to traditional aesthetic concepts.
3 Influence of Zen philosophy on modern minimalist art design
In terms of artistic and aesthetic experience, the Zen philosophy of “beauty in emptiness” is a human nature’s transcendence and a realization of the essence, deeply rooted in the blood of culture and art. Contemporary minimalist art design originates from such cultural and artistic blood. Zen aesthetics is an important cornerstone of traditional aesthetics, and it is inseparable from the development of modern minimalism.
The aesthetic ideas of Zen philosophy are highly compatible with the design aesthetic ideas of minimalism, and their common requirements for “emptiness”, “nature” and “simplicity” reflect the inherent relationship between the two. In the context of Zen Buddhism, the meaning of minimalism can also be appropriately interpreted. “Empty” does not mean nothingness as described in Chinese dictionaries. On the contrary, it is infinite, meaning that all things in the world are constantly changing, and life and death are unstable. Everything in this world is born of cause and effect ad, mutually, influences each other. According to empty words, it is true, which also conforms to the minimalist design aesthetic concept. It creates a simple and pure visual experience by eliminating unnecessary elements, allowing people to focus their attention on the essence of things. Both seek a profound understanding beyond appearances to simplify complexity and to seek truth from oneself. In minimalist design, designers often use simple and bright lines and forms, similar to the Zen philosophy of simplicity and richness, to arouse viewers’ inner thinking, transcending the surface and reaching directly into the human heart (Teng, 2019).
Taking lightness as expensive, simplicity as elegant, and vagueness as wonderful, it has changed from deep to free and easy, from rigidity to softness, washed away the aura of fire, restlessness and sharpness, and reached a higher state. This kind of deep thinking and spiritual pursuit of Zen Buddhism has had a profound impact on the aesthetic concept of contemporary minimalist design and is reflected in the spatial arrangement of its design.
For example, minimalism is more about using simple lines and straight lines, soft shapes, reducing intricate decorations, avoiding traces of artificial carving, using more natural and environmentally friendly materials, and striving to express a fresh atmosphere of mountains, forests, and countryside far away from the city (Liu, 2022, p. 101).
Designers create a balanced and harmonious visual effect by leaving white space and making reasonable use of space, giving people an invisible flow and freedom during use. This series of designs focuses on both the object itself and the mutual influence between people and the environment. This Zen philosophy imbues minimalist design with profound philosophy, reflecting more of an attitude toward life and a perception of the surrounding environment. It can be said that Zen Buddhism has profoundly shaped the aesthetic concept of modern minimalist design.
From the perspective of Zen philosophy, its pursuit of “harmony”, “nature” and “introspection” has deeply inspired the creative ideas of modern minimalist design. Its goal is not just to make things simpler, but also to create a new way of thinking about life on a spiritual and philosophical level. The goal of Zen of “emptiness” is reflected in the strict selection and mastery of space, form, color and material of minimalism. This quest involves more than just a material lack, that is, it also involves a transcendence of existence, time and space. In the creative process, designers simplify complexity and eliminate redundancy and clutter, in order to achieve unity between internal and external aspects. This design approach transforms space from a purely material level into a medium that can stimulate inner-thinking and inspire users to rethink the essence of life (Zhang, 2019).
At the same time, Zen advocates a close connection with the present moment, emphasizing real and intuitive experiences. Contemporary minimalist designers have incorporated this concept into their works, using clever use of space to create a smooth and peaceful harmony in the interaction with the surrounding environment. On this basis, the design of space is no longer aimed at maximizing functionality, but rather at providing people with a space for spiritual comfort and reflection. As advocated by Zen Buddhism, the external world’s complexity and busyness can be transformed into a peaceful picture, allowing people to seek inner peace. Designers try to minimize visual distractions and make each small point meaningful, creating an atmosphere of meditation and introspection. This is the “stillness” that Zen Buddhism aims to achieve.
The inner reflection and exploration, advocated by Zen Buddhism, are also reflected in modern minimalist design. Each work contains profound thoughts and emotions, allowing people to reflect on their interactions with objects. Minimalist design is not just a simple visual effect, and it is more about trying to resonate with people’s hearts (Shen et al., 2024). Every detail and every choice unconsciously influence users’ emotions and thoughts, enabling them to understand the essence and meaning of life. Zen Buddhism has brought many inspirations and directions for modern minimalist design and creation. Through the pursuit of simplicity, harmony and nature, it conveys an attitude towards life, while also allowing people to return to their hearts and understand their relationship with the world. It is not only a formal external manifestation, but also a deep philosophical reflection and emotional communication, making space a place for reflection, reflecting the true meaning and significance of life.
4 CASEs on the integration of Zen philosophy and minimalist design
The emptiness view of Eastern Zen inherits the mind object view of Mahayana emptiness, believing that the world, except for the mind, is empty. In Zen Buddhism, everything in the world is illusory and viewed through a dynamic and evolving perspective. This concept and form have inspired the thinking of minimalist design, thus opening up new artistic expressions, such as “less is more” and “one blocks ten”, in minimalism, expressing an artistic spirit of pursuing novelty and rebellion, and reflecting aesthetic characteristics, such as uncertainty, nonlogic and anti-form. Personalized reconstruction and recreation are carried out based on the minimalist design, which indirectly and partially absorbs Zen philosophy instead of directly and simply absorbing it. Zen philosophy forms the spiritual foundation of minimalist design, which is a unique art form that subtly conveys the most direct aesthetic principle of minimalism found in Zen Buddhism: “pointing directly to the human heart” and “not writing”.
The concept of “emptiness”, in Japanese Zen Buddhism, is the absorption of Chinese Zen philosophy and the inheritance and development of its local Shintoism, which is manifested in minimalist design work as a style of emptiness, isolation and restraint (Yi, 2023). Taking modern Japanese architecture as an example, one representative of the appropriate application of Zen philosophy in design is Tadao Ando. His representative work, Church of Water, is one of his most classic works, as shown in Figure 1. This church is located within Hokkaido’s natural landscape, and its design maximizes the Zen aerial view. The main body of this cathedral is a very simple building made of cement and glass, giving people a cold and lonely feeling. The exterior has no decoration, giving a feeling of emptiness. This minimalist design does not eliminate everything, but rather creates a sense of tranquility and transcendence in this space in an “empty” way.
The most noteworthy feature of this church is its giant glass curtain wall facing the lake. Here, the building blends in with the surrounding environment, and the outdoor lake blends in with the church. The lake reflects the empty sky, giving people a sense of lonely beauty. The overall design immerses people in the realm of “emptiness”, allowing them to perceive the unity of heaven and man, which is closely related to the spiritual connotation of “emptiness” in Zen Buddhism. Based on this, Ando cleverly integrates the concept of “emptiness” in Japanese Zen Buddhism with the nature’s worship in Shintoism, creating a unique spatial experience that is both lonely and meaningful. The Church of Water conveys the Zen concept of “emptiness” and also fully embodies the profound understanding of nature, solitude and self-restraint in Japanese Shintoism through its architecture. This collection combines Zen philosophy and Shintoism in a design style that not only presents a simple form, but also has profound philosophical implications. It is a model of Japanese aesthetic ideas, such as “emptiness”, “solitude” and “introversion”.
Tadao Ando regards water as an aesthetic element and also as an important carrier for conveying Zen philosophical concepts. Starting from Tadao Ando’s design philosophy, the functions of water can be divided into three categories: reflective pools, continuous waterfalls and waterfalls (Arar et al., 2021). Three different water features not only create a contrast between tranquility and dynamism visually, but also have a profound impact on people’s psychology and emotions. Firstly, by utilizing its peaceful water surface, a “mirror like” feeling is created, allowing viewers to emotionally resonate with the concept of “ethereal” while appreciating the architecture, thereby achieving spiritual tranquility and reflection. Through a questionnaire survey of visitors to the Water Church, it is found that over 80% of the respondents state that the reflection of the pool can make people feel relaxed and peaceful, helping them better understand and feel the spatial sense of the building. Tadao Ando blends Zen philosophy with minimalist design concepts to create a multi-layered spatial experience. These bodies of water not only provide visual guidance for visitors, but also offer different emotional experiences.
Zen Buddhism not only emerges in Japan, but also spreads to Korea through the Tang Dynasty. Minimalist art and design in South Korea, deeply influenced by Chinese Zen philosophy, have developed their unique characteristics within the local cultural context. A typical example is Korean architecture, which pays great attention to the combination of white space and nature in its design, in line with the Zen concept of “emptiness”. The backyard of Changde Palace is shown in Figure 2:
Under the combination of Zen philosophy and minimalist design, Korean style buildings, such as the backyard of Changde Palace, emphasize the integration of space and nature, with Zen philosophy as the core, expressing the “emptiness” of Zen. Through interviews with visitors, it is found that the minimalist design and natural elements significantly enhance their ease and tranquility. Meanwhile, asymmetrical and natural design can better stimulate viewers’ curiosity and desire for exploration, increasing their aesthetic pleasure. Korean architecture pays great attention to integrating nature in its design, creating a transparent space from the inside out by introducing elements, such as natural light, water and plants. It is a natural landscape that blends architecture with the surrounding natural environment, creating a harmonious beauty between humans and nature for viewers during the viewing process, enhancing their aesthetic experience.
In addition to its application in architecture, the combination of Zen philosophy and minimalism in product design also greatly influences consumers’ emotions and aesthetic experience. MUJI is a brand known for its minimalist design, and the visual design of its trademark is deeply influenced by Zen philosophy. MUJI often uses concise lines, large areas of white space, and natural colors in advertisements and packaging to express a simple and peaceful beauty. In the promotional materials of the product, the placement of text and images is also very particular, avoiding too much information accumulation and making it clear at a glance.
In its interior design, MUJI incorporates Zen philosophy and minimalism, highlighting the design principle of “less is more”. Both the store and exhibition hall adopt an open layout, with the simplest arrangement, making it easy for customers to find the products they want. Using natural materials, such as wood, cloth and soft colors, to create a quiet and relaxed shopping environment not only reduces people’s visual and psychological confusion, but also allows them to gain a sense of inner peace and concentration during the experience. This spatial design allows modern people to achieve spiritual peace in their busy lives, thereby enhancing consumers’ emotional resonance and aesthetic experience.
In furniture design, MUJI emphasizes simplicity, practicality and natural beauty. Its furniture design is mainly based on simplicity, removing unnecessary decorations and emphasizing functionality and comfort. For example, the wooden chairs and dining chairs of MUJI are dominated by natural textures and warm tones, creating a sense of warmth and harmony. This design not only gives people a visual freshness, but also brings a psychological comfort and sense of belonging to the user (Yang, 2024). The furniture of MUJI emphasizes the connection with nature and respect for space, allowing people to seek a simple and quiet feeling in daily life, and, thus, generating an emotional resonance and aesthetic feeling. Based on the minimalist design philosophy of Zen Buddhism, furniture is no longer just an object, but a spiritual sustenance.
In the process of integrating Western minimalism and Zen philosophy, the product design of Apple can be regarded as an example of the combination and common development of the two. It conveys a minimalist design aesthetic concept that prioritizes functionality through its simple lines, pure colors and intuitive user interface. The iPhone has removed unnecessary buttons and accessories, leaving only essential features, in line with the Zen principle of ‘less is more’. The graphics and interface design in the screen are concise and clear, reducing the visual burden on users and making operations smoother and more efficient. This design can not only improve the aesthetics of the product, but also enhance the user’s experience and satisfaction.
From this, it can be seen that Eastern philosophy, represented by Zen, emphasizes “emptiness” and “simplicity”, pursuing the tranquility and freedom of the soul. This concept is reflected in simple lines, natural materials and large blank spaces, creating a peaceful and natural atmosphere that allows users to enter a state of contemplation. However, Western philosophy and design ideas are influenced by modernity and functionalism, emphasizing the unity of form and function, and the pursuit of efficiency and rationality. Very few designs in Europe and America emphasize the precision of materials and structures, using simple lines and pure colors to reduce the visual burden on users and make their operations smoother and more efficient (Huang, 2021).
The combination of Zen philosophy and minimalism reflects a high degree of spiritual and aesthetic unity between the two. Zen design places a strong emphasis on “emptiness”, “nonaction” and “less is more,” all of which are aspects of minimalist design that prioritize utility, simplicity and purity. A deeper level of spiritual contemplation is facilitated by the minimalist design, which provides ample room for presenting pure visual beauty (Xu; Lan, 2022). Minimalism draws inspiration from Zen philosophy and creatively and strategically incorporates concepts, such as “emptiness” to create aesthetically significant works of art, which have had a huge impact on the field of art. Minimalist design and Zen beauty permeate and blend, endowing the design form with the brilliance and color of Eastern thinking. Whether in architecture, art, or daily life, it expresses a calm and profound aesthetic, presenting the richest content in the least form and revealing a spiritual world that transcends materialism.
5 Significance and inspiration of the fusion of Zen philosophy and minimalism in modern art design
Although the combination of Zen philosophy and minimalist design has shown positive effects in many aspects, this integration also faces some potential challenges and limitations. Firstly, excessively pursuing minimalism can result in a shallow cultural connotation. In the pursuit of simplicity, designers often overlook the importance of cultural symbols and backgrounds, making it difficult to implement the deep philosophical principles of Zen Buddhism. The “one size fits all” creative model can bring certain misunderstandings to the audience, making it difficult for it to have a deeper understanding of the true intention of the work, thereby affecting the emotional resonance of the work (Donets, 2022). In addition, applying Zen to minimalist design can also create issues of audience acceptance. The spirit and tranquility, conveyed in Zen language, are not immediately understood or appreciated by everyone. During the design process, some people may feel confused about Zen elements and find it difficult to achieve the desired emotional and aesthetic feelings. There are both differences in cultural backgrounds and life experiences, as well as differences in their understanding and acceptance of “simplicity”.
In the fusion of the two, designers need to have a deep understanding of Zen philosophy and transform this profound spiritual meaning into design language. However, many designers only formally express themselves during the creative process, neglecting the profound spiritual connotations contained in Zen philosophy, resulting in insufficient depth of their creative ideas. This makes the fusion of Zen and minimalism superficial, rather than delving deep into the viewer’s heart, weakening the ideological and cultural connotations of the work. Therefore, in modern art and design, it is necessary to enhance a profound understanding of Zen Buddhism, attach importance to the stories and cultural backgrounds it contains, and have a certain degree of cultural sensitivity.
Designers must break through the pursuit of external forms and truly integrate Zen into their design ideas. The central idea of Zen Buddhism is “emptiness” and “nonaction”, seeking inner enlightenment, rather than simply simplifying complexity, but exploring the human soul at a deeper level (Watanabe, 2020). Therefore, when designers engage in minimalist design, they should not classify the “emptiness” of Zen as the blank space of material space, but recognize that “emptiness” is a symbol of inner emotions, a spiritual pursuit beyond material things. Designers should guide the audience with simple design forms, rather than simply emphasizing their visual aesthetics. Zen Buddhism is not only a philosophy, but also an attitude towards life and a cultural tradition. Therefore, when designers engage in minimalist design, they should fully consider how to integrate Zen Buddhism to achieve a higher artistic realm. In this way, it can not only enrich the ideological connotation of the work, but also enable viewers to appreciate the profound connotation of Zen Buddhism and achieve spiritual resonance during the viewing process. Zen philosophy originated in the East, and many of its concepts are difficult to understand correctly in the Western cultural context. In the process of integration, designers should respect and understand the original cultural background, not simply transform it into a design style, but fully consider the cultural context in the study and exploration of its concepts, and faithfully express its spiritual connotation in practice.
Conclusion
This article delves into the profound connection between Zen philosophy and modern minimalist art design. Based on an overview of the “ethereal” concept of Zen philosophy, through case analysis, it explores its application in modern minimalist design and provides corresponding inspiration for modern art design. This not only deepens the understanding of the application of Zen philosophy in the field of modern art and design, and promotes the integration of Eastern and Western philosophical ideas with contemporary design practice, but also reveals the inspiration of Zen philosophy for minimalist design not only at the aesthetic level. It provides designers with a new way of thinking on a spiritual level, emphasizing the intrinsic value and cultural depth of design. In future research, the cross-cultural dissemination of Zen philosophy can be explored in the context of globalization, and its potential application, in the field of digital design, can be explored to further understand the significance of Zen philosophy in modern design and promote its sustained influence in future artistic creation.
References
-
ALLEN, L. Explore Jiangbei and embark on an adventurous journey in Seoul, an old-fashioned uncle. Travel Qunar, 2018. Available in: Available in: https://touch.travel.qunar.com/comment/5814787?bd_source=uc_lightapp Accessed in: August 19, 2024.
» https://touch.travel.qunar.com/comment/5814787?bd_source=uc_lightapp - ARAR, M.; JUNG, C.; AL QASSIMI, N. The Typology of Water Composition in Tadao Ando’s Architecture. Asian Journal of Arts, Culture and Tourism, v. 3, n. 2, p. 1-15, 2021.
- CAO, X. H. The Influence of Zen Thought on Minimalist Art. Science · Economy · Society, v. 38, n. 2, p. 111-117, 2020.
- CHAKRAPANI, C. Stoic Minimalism: ‘Just Enough Stoicism’ for Modern Practitioners. Symposion, v. 9, n. 1, p. 11-29, 2022.
- CHOMSKY, N. Genuine explanation and the strong minimalist thesis. Cognitive Semantics, v. 8, n. 3, p. 347-365, 2023.
- DAI, S. R. On the role of minimalism in graphic design. Highlights in Art and Design, v. 3, n. 2, p. 24-27, 2023.
- DONETS, O. Spiritual practices of Zen Buddhism in the conditions of globalization challenges of modern times. Skhid, v. 3, n. 4, p. 57-62, 2022.
- DUNLAP, R. Unexamined Zen: Challenges from Dōgen’s Zen Buddhism. Journal of Chinese Philosophy, v. 50, n. 4, p. 358-370, 2024.
- GUMBER, S. Minimalism in Design: A Trend of Simplicity in Complexity. Journal of Visual and Performing Arts, v. 4, n. 2, p. 357-365, 2023.
- HAGHANI HESARI, M.; AMIN KHANDAQI, J. Explaining the Aesthetic Components of Ashikaga Japanese Painting Based on Zen Buddhism. Journal of Fine Arts: Visual Arts, v. 29, n. 1, p. 85-96, 2024.
- HAO, R. M.; LI, Y.; LIU, F. Y. Interpretation of the cultural Concept of ‘Emptiness’ and its Application Research in Product Design. Packaging Engineering Art Edition, v. 42, n. 2, p. 97-103, 2021.
- HUANG, L. A. Geometric Minimalist Design. Shanghai Arts and Crafts, 2021.
- HUANG, Y.; CHEN, X. C. The application of Zen thought in Western minimalist Garden Design-taking Peter Walker as an Example. Beauty and the Times: Creativity (Part 1), n. 7, p. 7-9, 2019.
- HU, H. Q. A Modern Interpretation of ‘Learning from Nature Outside, Learning from Heart in’ - Taking Landscape Painting as an Example. Art Education Research, v. 14, p. 12-13, 2019.
- JI, R. X.; WU, W. H. Modern Design under the influence of Zen Aesthetics. Ancient and Modern Cultural Creation, n. 2, p. 77-79, 2023.
- LEE, Y. Distinction by Indistinction: Luxury, Stealth, Minimalist Fashion. Luxury, v. 6, n. 3, p. 203-225, 2021.
- LIU, H. M. Epistemological Interpretation of Minimalist Art highlighting Physical Properties, Journal of Shandong Youth Political Science Institute, v. 38, n. 6, p. 101-107, 2022.
-
LIU, S. H. Water Church: Where did Tadao Ando’s architecture go from simplicity? Souhu, 2021. Available in: Available in: https://m.sohu.com/a/459438373_695336?_trans_=010004_pcwzy Accessed in: August 19, 2024.
» https://m.sohu.com/a/459438373_695336?_trans_=010004_pcwzy - PI, C. G. Revisiting the Importance of Excavating and Organizing Historical Documents on Zen Aesthetics. Chinese Culture Forum, v. 4, p. 75-80, 2019.
- RATHOUR, A.; MANKAME, G. Decluttering the future: An analysis of Indian minimalism. International Journal, v. 1, n. 3, p. 1744-1765, 2021.
- SHEN, J. S.; XIAO, Y. M.; LIN, C. L. Exploring the Characteristics of Zen Painting. Creative Education, v. 15, n. 4, p. 652-677, 2024.
- SONG, Y.; QIN, Z. Z. Towards the beauty of Buddhism: The development and validation of a Buddhist Aesthetics Scale. Religions, v. 10, n. 5, p. 343-345, 2019.
- TENG, H. Y. Talking about the development of minimalist design style in the field of design. Art Appreciation, n. 33, p. 56-57, 2019.
- WANG, H. Minimalism-from Reason to Practice. Art and Design, n. 3, p. 166-168, 2023.
- WANG, W. E. The Expression and Application of Minimalism in Graphic Design. Packaging Engineering Art Edition, v. 42, n. 14, p. 362-364, 2021.
- WANG, W. R.; WANG, F. Western Minimalism in Design: Oriental Roots and Cultural Borrowings. Textile, v. 22, n. 2, p. 418-429, 2024.
- WATANABE, T. Long Strange Journey: On Modern Zen, Zen Art, and Other Predicaments by Gregory PA Levine. The Journal of Japanese Studies, v. 46, n. 1, p. 279-282, 2020.
- XING, W. The Aesthetics of Temple Gardens: Research on the Application of Zen Philosophical Principles in the Design of Zen-inspired Landscapes. Journal of Social Science Humanities and Literature, v. 7, n. 2, p. 100-111, 2024.
- XIONG, W. L. The Fusion of Zen Aesthetics in Modern Lighting Design. Art Literature, n. 9, p. 111-112, 2019.
- XU, Y. Y.; LAN, T. H. When “minimalist design” becomes a value symbol. Art and Design: Product Design, n. 2, p. 26-28, 2022.
- YANG, H. M. The Application of Zen Thought in Furniture Design - Take Rattan Furniture as an Example. Landscape and Urban Horticulture, v. 6, n. 1, p. 13-18, 2024.
- YI, Y. X. An Analysis of the Status of Japanese Zen Art Aesthetics in Ukiyo-e from Katsushika Hokusai to Van Gogh. American Journal of Art and Design, v. 8, n. 1, p. 12-17, 2023.
- ZHANG, X. J. From Modernism to Postmodernism - A Critical Case Study around Minimalist Art. Fine Arts, n. 3, p. 128-133, 2019.
- ZHANG, X. K. A Brief Discussion on the Minimalist Power of Extreme Sculpture: A Case Study of Tony Smith’s Sculpture. Frontiers in Art Research, v. 4, n. 14, p. 31-34, 2022.
Source: 
Source: 