The term, Abode of Vacancy, besides conveying the Taoist theory
of the all-containing, involves the conception of a continued need
of change in decorative motives. The tea-room is absolutely empty,
except for what may be placed there temporarily to satisfy some
aesthetic mood. Some special art object is brought in for the
occasion, and everything else is selected and arranged to enhance
the beauty of the principal theme. One cannot listen to different
pieces of music at the same time, a real comprehension of the
beautiful being possible only through concentration upon some
central motive. Thus it will be seen that the system of decoration
in our tea-rooms is opposed to that which obtains in the West,
where the interior of a house is often converted into a museum.
To a Japanese, accustomed to simplicity of ornamentation and
frequent change of decorative method, a Western interior
permanently filled with a vast array of pictures, statuary, and
bric-a-brac gives the impression of mere vulgar display of riches.
It calls for a mighty wealth of appreciation to enjoy the constant
sight of even a masterpiece, and limitless indeed must be the
capacity for artistic feeling in those who can exist day after day
in the midst of such confusion of color and form as is to be
often seen in the homes of Europe and America.

The "Abode of the Unsymmetrical" suggests another phase of
our decorative scheme. The absence of symmetry in Japanese
art objects has been often commented on by Western critics.
This, also, is a result of a working out through Zennism of
Taoist ideals. Confucianism, with its deep-seated idea of dualism,
and Northern Buddhism with its worship of a trinity, were in no
way opposed to the expression of symmetry. As a matter of fact,
if we study the ancient bronzes of China or the religious arts of