Harmony can be created in a gallery and a domestic environment by the placing of objects and design of the space.  The standard meaning of spiritual is something relating to, or affecting the human spirit or soul, as opposed to material or physical things.  The material / physical, including the physical experience, do affect the human spirit when manifested in the form of visual art.  Art can be defined by whether the experience of it transcends from what we can describe as the norm or commonplace.  The gallery, or environment, can take on the same viewing and listening experience as of places dedicated to thought, contemplation and meditation, as in a place of worship.  Eastern thought, inspired by the concepts of Buddhism which influenced the disciplines and philosophies of Japanese Zen, can be unconsciously incorporated in the design principles of an exhibition or the domestic environment.  The Japanese concept of Ma is the space between.  This was poetically once described as – the silence between the notes that make the music.  In a physical design setting, this gives equal value to the area that lies between the displayed object, or objects.  This will allow the viewing eye to take in the whole, as opposed to the display of a single object.  The concept of Mu takes this thought process further.  The Japanese word Mu is similar to the Sanskrit word Sunyata, which means emptiness and the void.  In Shanshui painting the significance of the non existent or emptiness in the artwork were considered as more meaningful than the solid painted areas.  This concept of space and spirituality dates from the 13th Century.  Space and emptiness create and emphasise a sense of contemplation, and without intellectualisation; quietness, stillness, emptiness and depth.