The mathematical physicist must simplify in order to get a manageable model, and although his concepts are of great beauty, they are austere in the extreme, and the more complicated crystal patterns observed by the metallurgist or geologist, being based on partly imperfect reality, often have a richer aesthetic content. Those who are concerned with structure on a super atomic scale find that there is more significance and interest in the imperfections in crystals than in the monotonous perfection of the crystal lattice itself.
Recently there is a tendency to pursue distortion in art, but in the case of this jar, natural deformation has raised distortion to the level of spontaneous beauty.
Generally speaking, the Western perception of art has its roots in Greece. For a long time its goal was perfection, which is particularly noticeable in Greek sculpture. This was in keeping with Western scientific thinking; there are no painters like Andrea Mantegna in the East. I am tempted to call such art ‘the art of even numbers’.
In contrast to this, what the Japanese eye sought was the beauty of imperfection, which I would call ‘the art of odd numbers’. No other country has pursued the art of imperfection as eagerly as Japan.
We love to see the process, not just the result. The imperfections in your work can be beautiful if they show your struggle for perfection, not a lack of care.
The patterns of Truchet's tiles appear at first glance as variously shaped interlocked regions of black and white, the boundaries between the square tiles being submerged whenever the two regions flanking them have the same color, just as in a real floor the air or cement between the tile edges is not perceived—until one looks closely. The scale of resolution determines what is seen.