Anthony Ferguson on sat 20 mar 10
>
> The reason people hold Japanese in high regard over tea is that they
> elevated it to an Art form (almost a religion too) from inspiration from =
the
> Chinese--if I am wrong, anyone please correct me on this. And you can se=
e
> some people are very passionate along the entire spectrum. And that is w=
hy
> I try to remind people it is a bowl. A bowl...that like any form is the
> seed of potential. Some of us can over intellectualize it...but in the e=
nd
> when a future civilization finds a tea bowl...it will still be a bowl unl=
ess
> they have record of "A" particular form and its ritual specifics. Now, i=
t
> may be a freaking really cool bowl aesthetically, or a piece of schmidt
> music (remember the hammer?) it may or may not function, but future
> societies alien or otherwise will study them and see that we made many
> different kinds of bowls. And they will wonder how and what they were us=
ed
> for and they will certainly come up with the fact that we liked our bowls=
,
> because we made so many dam variations on the bowl. Some they will hold =
and
> its balance will be off, uncomfortable in the hands while others, when th=
ey
> hold them, will think "this was a finely made bowl...and when they ping i=
t
> it will sing and they will know it was made with thought and consideratio=
n
> for the form and probably its use. Whatever you make, make it well to
> whatever standard you regard. It will be judged when you and I are long
> gone. And worse yet, when they clone your piece of DNA they find in the
> claybody and bring your clone back to ask about the bowl, at the time tha=
t
> bowl was made, everything that was you at that moment--your clone will ha=
ve
> answer for that bowl 8-). I am going to explore that idea for a short
> film!
>
> Tony Ferguson
>
Antionette,
Cheers,
Tony
__________________________
Tony Ferguson, MA Visual Arts
Artist/Educator
http://www.tonyferguson.net
http://www.fergyphoto.com
Workshops, Training & Online Education
Lee Love on sat 20 mar 10
On Sat, Mar 20, 2010 at 6:39 PM, Antoinette Badenhorst
wrote:
> Bruce, I love your comments. Honesty, honesty, honesty is what it is abou=
=3D
t. I've seen so
> many times how people tried to do the "African culture"
I've met all kinds Antoinette. Here in the Midwest, American
Indian would be more likely than African. Sometimes folks are
sincere, and rather that just accept the veneer of culture, they
surrender themselves. I met someone in Mashiko, a person who played
Native American Flute, Gary Stroustos. http://www.garystroutsos.com/
My friend Tatsuo Tomeoka brought him to Japan when he was on tour
for his "Sacred Clay" album. It was a special album, with music
played on Clay versions of the courting flute and African clay drums.
At first, I was skeptical about a Greek American playing Native
American, until I met Gary, heard his story and listened to his music.
He played in sacred places in Japan, including inside of Hamada's
Noborigama. I was lucky to have he play in my booth at the Mashiko
Pottery Festival.. I sold his CDs and played the CD Sacred Clay in
my booth during the festival.
Listen to this. This is genuine and incredible! http://lala.com/zTIh
> Anyway, while I am writing this e-mail, Lee was the only one that did pay=
=3D
attention to all >the different teabowls and I so appreciated it. Some sim=
=3D
ply shared the knowledge that they >had, which was also very much appreciat=
=3D
ed, but there were claims that the teabowl belong to >Japan......not so wis=
=3D
e.........
The retired master Dr. Genshitsu Sen, a decedent of Sen No Rikyu, has
devoted his life to making chanoyu international. He calls his work
"Peacefullness through a bowl of tea." Even formal tea ceremony is
totally secular and not bound to a single culture. In fact, you can
follow the diffusion of culture around the world by following the
historic travel of tea.
Jean has been volunteering as a teacher at the Literacy
Council. She was surprised to find that in her class of Africans and
Latin Americans, that nobody drank morning coffee (Like I religiously
do.) They all drank tea in the morning.
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
Fred Parker on sat 20 mar 10
When this thread began I vowed I would stay out of it because I know my
opinions will not be to the liking of some and, currently, I have no
interest in engaging. However, I cannot keep this up. I have no intent =
=3D
to
offend, but I have to say it:
I am amazed that potters, a group whose success demands openness of thoug=
=3D
ht,
creativity and intellectual exploration, has been so hijacked by the
"Japanese way." Tea was not discovered/invented by the Japanese -- not b=
=3D
y a
long shot. Japanese teas are nowhere near as diverse as teas from other
regions. Nor are the Japanese the primary tea consumers on the planet. =
=3D
It
is my understanding that tea consumption is somewhat on the decline in Ja=
=3D
pan
-- especially among the young. Other cultures around the world use teas =
=3D
in
ways every bit as "spiritual" as the Japanese -- often with perhaps a bit=
=3D
less pomp and circumstance.=3D20=3D20
Yet potters seem collectively bound to bow in reverence toward Japan
whenever tea and ceramics come together -- or, for that matter, whenever
"ceramics" emerges as the topic of the moment. Japan has become the
contemporary Mecca for ceramics students in academia, potters constantly
speak in hushed tones and high reverence of the designated Japanese
"masters" and "national treasures" and I read of yunomi they make selling=
=3D
for thousands upon thousands of dollars.
"Wabi-sabi" is, for many, the excuse to eschew discipline. Lofty argumen=
=3D
ts
are made to "explain" to the infidels just why it is they are incapable o=
=3D
f
ever grasping the mystic truths embodied in such forms. Much is said abo=
=3D
ut
"natural imperfections and incompletion" as potters seeking to emulate th=
=3D
e
sacred style contrive wobbly bats and intentional finger-gouges "so it wi=
=3D
ll
appear more natural."
Spare me.
Tea is a wonderful elixir, made so by nature and by the many hands and
processes that move it from tree to cup -- and also for its myriad uses.=3D=
20=3D
Enjoying TEA and its breathtaking spectrum of tastes is what it's all abo=
=3D
ut.
Perhaps this is done as a gesture of welcome to a stranger or friend, a
pause for refreshment or just for the hell of it. The tea bowl, yunomi o=
=3D
r
jelly jar one chooses to use is secondary to the lead actor, the tea. Ye=
=3D
s,
the vessel should present the tea in its best light. It should be pleasi=
=3D
ng.
It should never detract. But, in my own opinion, stressing over precise=
=3D
definitions in accordance with Japanese traditions and warning against
certain uses of tea ware because that is not how it is done in Japan smac=
=3D
ks
of missing the point.
The Japanese have many wonderful inventions and traditions for the taking=
=3D
of
teas. So do others, such as the Chinese, the Indians, the Brits, the
Moroccans, The Russians and, yes, even the Americans.=3D20=3D20
I suspect academia plays a huge role in all of this. Teachers choose top=
=3D
ics
and emphases. Students pick them up and act on them. In the thick of it=
=3D
everybody misses the point and neophyte potters, not wanting to miss out,=
=3D
train themselves to join in. The show goes on and the wall rises higher
around us.
To repeat, I do not mean to offend anyone. This is only my personal
opinion. I post it because I believe a different perspective is needed.=3D=
20=3D
After all, there might be new potters lurking at this very moment...=3D20=
=3D20=3D
=3D20
Fred
Lee Love on sat 20 mar 10
On Sat, Mar 20, 2010 at 11:38 AM, Fred Parker wrote:
> I am amazed that potters, a group whose success demands openness of thoug=
=3D
ht,
> creativity and intellectual exploration, has been so hijacked by the
> "Japanese way."
Fred, Blinders are their own "one true way." I never once
seen anybody write "the Japanese way was the only way. " Actually,
I've only shown images of Chinese and Korean tea bowls so far.
But if you are going to use a foreign word to name a form, unless
you want to sound stupid when speaking to a native of that language,
you should know what that designation means originally.
You know, sounding stupid, like tellin' a Texan that Chili always
has beans in it. Or, what if I served you a bowl of Maypo Oatmeal
and told you the was Georgia Grits? How'bout I tell you about the
Crocodiles in Okefenokee Swamp?
Think about it. ;^)
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
Bruce Bowers on sat 20 mar 10
As someone who stuggles daily with the simplicity of creation, and the
immense challenge of allowing nature to take its course in my work, I can s=
ay
with a fair degree of assurance that the minute we try to "make things look
more natural," we blow the whole thing.
One way of developing one's work is to see it as coming into being in the
moment before thought arises.
There is a quote by the contemporary composer, John Cage, that goes like
this:
"When I first go into my studio, I take with me everyone and everything
that I have ever loved, disliked, respected, been intimidated by, or
influenced by.
As I begin working, these people, ideas, and things begin to leave.
Sometimes they leave in groups; sometimes one by one.
When I really begin to work, I leave, too,"
The work still got done. You can buy his CD's in any music store. He is
recognized as one of the most original, unrestrained, unconventional, and
influential composers of the 20th century.
I would hazard to say that his knowledge of classical forms of composition,
as well as of contemporary modes of improvisation, was astronomical.
I agree that being caught up and fenced in by another culture's view of
aesthetics and the associated details of such is a move toward self
conscious reverence.
Japan is a pretty opaque culture in some regards. It is almost
impossible, and certainly pointless to work from the viewpoint of any cultu=
re other
than the one you are in right here and right now
Has anyone ever visited a foreign country where people try to be
"Western?" The attempt, in our eyes. is often lame and even silly........=
.just try
a country/western bar in Osaka.
The more baggage that can be thrown out, and the more our sense of form,
proportion, and muscle memory develops, the more natural to ourselves
(whatever one's idea of that might be) we have a chance to be.
Then our work can be loose, tight, whatever.....but true to us.
As a local disc jocky in the DC area says, ........"Not a sermon, just a
thought."
Bruce Bowers
In a message dated 3/20/2010 14:18:50 Eastern Daylight Time,
fhparker@YAHOO.COM writes:
When this thread began I vowed I would stay out of it because I know my
opinions will not be to the liking of some and, currently, I have no
interest in engaging. However, I cannot keep this up. I have no intent
to
offend, but I have to say it:
I am amazed that potters, a group whose success demands openness of
thought,
creativity and intellectual exploration, has been so hijacked by the
"Japanese way." Tea was not discovered/invented by the Japanese -- not by
a
long shot. Japanese teas are nowhere near as diverse as teas from other
regions. Nor are the Japanese the primary tea consumers on the planet. I=
t
is my understanding that tea consumption is somewhat on the decline in
Japan
-- especially among the young. Other cultures around the world use teas
in
ways every bit as "spiritual" as the Japanese -- often with perhaps a bit
less pomp and circumstance.
Yet potters seem collectively bound to bow in reverence toward Japan
whenever tea and ceramics come together -- or, for that matter, whenever
"ceramics" emerges as the topic of the moment. Japan has become the
contemporary Mecca for ceramics students in academia, potters constantly
speak in hushed tones and high reverence of the designated Japanese
"masters" and "national treasures" and I read of yunomi they make selling
for thousands upon thousands of dollars.
"Wabi-sabi" is, for many, the excuse to eschew discipline. Lofty argument=
s
are made to "explain" to the infidels just why it is they are incapable of
ever grasping the mystic truths embodied in such forms. Much is said abou=
t
"natural imperfections and incompletion" as potters seeking to emulate the
sacred style contrive wobbly bats and intentional finger-gouges "so it wil=
l
appear more natural."
Spare me.
Tea is a wonderful elixir, made so by nature and by the many hands and
processes that move it from tree to cup -- and also for its myriad uses.
Enjoying TEA and its breathtaking spectrum of tastes is what it's all
about.
Perhaps this is done as a gesture of welcome to a stranger or friend, a
pause for refreshment or just for the hell of it. The tea bowl, yunomi or
jelly jar one chooses to use is secondary to the lead actor, the tea. Yes=
,
the vessel should present the tea in its best light. It should be
pleasing.
It should never detract. But, in my own opinion, stressing over precise
definitions in accordance with Japanese traditions and warning against
certain uses of tea ware because that is not how it is done in Japan smack=
s
of missing the point.
The Japanese have many wonderful inventions and traditions for the taking
of
teas. So do others, such as the Chinese, the Indians, the Brits, the
Moroccans, The Russians and, yes, even the Americans.
I suspect academia plays a huge role in all of this. Teachers choose
topics
and emphases. Students pick them up and act on them. In the thick of it
everybody misses the point and neophyte potters, not wanting to miss out,
train themselves to join in. The show goes on and the wall rises higher
around us.
To repeat, I do not mean to offend anyone. This is only my personal
opinion. I post it because I believe a different perspective is needed.
After all, there might be new potters lurking at this very moment...
Fred
Vince Pitelka on sat 20 mar 10
Fred Parker wrote:
"Yet potters seem collectively bound to bow in reverence toward Japan
whenever tea and ceramics come together -- or, for that matter, whenever
"ceramics" emerges as the topic of the moment. Japan has become the
contemporary Mecca for ceramics students in academia, potters constantly
speak in hushed tones and high reverence of the designated Japanese
"masters" and "national treasures" and I read of yunomi they make selling
for thousands upon thousands of dollars."
Who? What? Huh? The teabowl is a wonderful small vessel that has no real
parallel in Western culture. The custard cup, the tumbler? Neither comes
close to the teabowl. I have a little trouble with Western potters using
the Japanese names for various teabowls. That is a little cloying and
inbred. But otherwise, the Japanese wood-fired aesthetic is one of the mos=
t
inspiring for contemporary potters, and it is entirely understandable. Few
Western potters are actually copying Japanese pots, but many are heavily
influenced by them, and again, it is entirely understandable.
There are potters who carry it too far in their celebration of all things
Japanese, including one on this list whose name shall go unmentioned other
than the hints that both of his initials are "L" and his first name contain=
s
the letter "e" twice. Otherwise, your rant is entirely misplaced.
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net; wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka
Lee Love on sat 20 mar 10
On Sat, Mar 20, 2010 at 4:08 PM, Bruce Bowers wrote:
> As someone who stuggles daily with the simplicity of creation, and the
> immense challenge of allowing nature to take its course in my work, I can=
=3D
say
> with a fair degree of assurance that the minute we try to "make things lo=
=3D
ok
> more =3DA0natural," we blow the whole thing.
>
> One way of developing one's work is to see it as coming into =3DA0being i=
n =3D
the
> moment before thought arises.
They say thought isn't the problem, but the thought chasing
thought. The thought of a thought of a thought, that keeps you from
the original experience.
Katagiri Roshi used to say, "It is when you are in the woods
and see the Moose. It is the 'Ah!', before you say, 'A Moose!'"
He actually saw a Moose at the North Shore of Lake Superior once and
had this epiphany.
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
Lee Love on sat 20 mar 10
On Sat, Mar 20, 2010 at 4:53 PM, Mike wrote:
> No one would deny the myriad of culture`s various ways of taking their
> tea. =3DA0But we weren`t discussing the world tea culture, just the tools=
o=3D
f
> a small subculture contained therein.
Yeah. I expressly said that our American tea bowls tend not to be
made for whisked tea, but are inspired by bowls for whisked tea as an
expression of the potters best work in a tea bowl sized package.
One way ain't better than the other. But it is good for a
cosmopolitan person to know the difference.
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
Lee Love on sun 21 mar 10
On Sat, Mar 20, 2010 at 8:45 PM, Anthony Ferguson wrot=
=3D
e:
>>
>> The reason people hold Japanese in high regard over tea is that they
>> elevated it to an Art form (almost a religion too) from inspiration from=
=3D
the
>> Chinese--if I am wrong, anyone please correct me on this.
I wrote an article for studio potter and spoke about the
importance of Sen No Rikyu (sorry Martin, please feel free to snicker)
related to the Japanese pots we are most influenced by in the West for
their _Boundaries and the Digital World_ issue coming up. We aren't
influenced much by the fine porcelains as we are the rustic work
influenced by tea ceremony.
Ever see the CSI program where they were able to use a
laser and read the sounds off of a pot and were able to catch a killer
with that information? I think it comes from an old sci/fi story.
I don't think it is possible with our current technology, but it might
be possible in the future.
Here is a video, of the same technique (It is an April Fool joke.) In Fren=
=3D
ch:
http://www.zalea.org/article.php3?id_article=3D3D496
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
Antoinette Badenhorst on sun 21 mar 10
Lee it you want to understand Africa, you have to live in the heart of it. =
=3D
You have to smell it, taste it, feel it, fear it, beat it...........with yo=
=3D
ur eyes closed and your hands tied behind your back! =3DC2=3DA0Few know how=
....=3D
...........including it's offspring......................=3D20
Antoinette Badenhorst=3D20
Lincolnshire, Illinois=3D20
----- Original Message -----=3D20
From: "Lee Love" =3D20
To: Clayart@LSV.CERAMICS.ORG=3D20
Sent: Saturday, March 20, 2010 11:22:10 PM GMT -06:00 US/Canada Central=3D2=
0
Subject: Re: Tea bowls -- yunomi -- I have failed... (long)=3D20
On Sat, Mar 20, 2010 at 6:39 PM, Antoinette Badenhorst=3D20
wrote:=3D20
> Bruce, I love your comments. Honesty, honesty, honesty is what it is abou=
=3D
t. I've seen so=3D20
> many times how people tried to do the "African culture"=3D20
=3DC2=3DA0=3DC2=3DA0 =3DC2=3DA0 =3DC2=3DA0 I've met all kinds Antoinette. =
=3DC2=3DA0 Here in th=3D
e Midwest, American=3D20
Indian would be more likely than African. =3DC2=3DA0 Sometimes folks are=3D=
20
sincere, and rather that just accept the veneer of culture, they=3D20
surrender themselves. =3DC2=3DA0 I met someone in Mashiko, a person who pla=
yed=3D
=3D20
Native American Flute, Gary Stroustos. =3DC2=3DA0http://www.garystroutsos.c=
om/=3D
=3D20
=3DC2=3DA0My friend Tatsuo Tomeoka brought him to Japan =3DC2=3DA0when he w=
as on to=3D
ur=3D20
for his "Sacred Clay" album. =3DC2=3DA0 It was a special album, with music=
=3D20
played on Clay versions of the courting flute and African clay drums.=3D20
=3DC2=3DA0=3DC2=3DA0 At first, I was skeptical about a Greek American playi=
ng Nativ=3D
e=3D20
American, until I met Gary, heard his story and listened to his music.=3D20
=3DC2=3DA0=3DC2=3DA0He played in sacred places in Japan, including inside o=
f Hamada=3D
's=3D20
Noborigama. =3DC2=3DA0 =3DC2=3DA0I was lucky to have he play in my booth at=
the Mas=3D
hiko=3D20
Pottery Festival.. =3DC2=3DA0 I sold his CDs and played the CD Sacred Clay =
in=3D
=3D20
my booth during the festival.=3D20
Listen to this. =3DC2=3DA0 This is genuine and incredible! =3DC2=3DA0http:/=
/lala.co=3D
m/zTIh=3D20
> Anyway, while I am writing this e-mail, Lee was the only one that did pay=
=3D
attention to all >the different teabowls and I so appreciated it. Some sim=
=3D
ply shared the knowledge that they >had, which was also very much appreciat=
=3D
ed, but there were claims that the teabowl belong to >Japan......not so wis=
=3D
e.........=3D20
The retired master Dr. Genshitsu Sen, a decedent of Sen No Rikyu, has=3D20
devoted his life to making chanoyu international. =3DC2=3DA0 He calls his w=
ork=3D
=3D20
"Peacefullness through a bowl of tea." =3DC2=3DA0 =3DC2=3DA0Even formal tea=
ceremon=3D
y is=3D20
totally secular and not bound to a single culture. =3DC2=3DA0 =3DC2=3DA0In =
fact, yo=3D
u can=3D20
follow the diffusion of culture around the world by following the=3D20
historic travel of tea.=3D20
=3DC2=3DA0=3DC2=3DA0 =3DC2=3DA0 =3DC2=3DA0 =3DC2=3DA0Jean has been voluntee=
ring as a teacher at=3D
the Literacy=3D20
Council. =3DC2=3DA0 She was surprised to find that in her class of Africans=
and=3D
=3D20
Latin Americans, that nobody drank morning coffee (Like I religiously=3D20
do.) =3DC2=3DA0 They all drank tea in the morning.=3D20
--=3D20
=3DC2=3DA0Lee, a Mashiko potter in Minneapolis=3D20
http://mashikopots.blogspot.com/=3D20
=3DE2=3D80=3D9CObserve the wonders as they occur around you. Don't claim th=
em. Fe=3D
el=3D20
the artistry moving through and be silent.=3DE2=3D80=3D9D --Rumi=3D20
Mike on sun 21 mar 10
Dear Fred,
I think you may have misinterpreted the main point of the thread, which
I believe originated at basically `what is a teabowl`.
I don`t think I ever heard anyone say `the Japanese way or the highway`.
In fact, Lee has been posting Chinese and Korean bowls as examples.
Admittedly, I`ve missed some of the posts in this thread, but to my
understanding we were discussing bowls that were or weren`t suitable for
drinking whisked powdered green tea.
No one would deny the myriad of culture`s various ways of taking their
tea. But we weren`t discussing the world tea culture, just the tools of
a small subculture contained therein.
Mike
in Taku, Japan
http://karatsupots.com
http://karatsupots.blogspot.com
Kiln Building Workshop, Oct. 15 - 22
http://karatsupots.com/workshop2010/workshop2010.html
http://karatsupots-workshop.blogspot.com/
(2010/03/21 2:38), Fred Parker wrote:
> When this thread began I vowed I would stay out of it because I know my
> opinions will not be to the liking of some and, currently, I have no
> interest in engaging. However, I cannot keep this up. I have no intent =
to
> offend, but I have to say it:
>
> I am amazed that potters, a group whose success demands openness of thoug=
ht,
> creativity and intellectual exploration, has been so hijacked by the
> "Japanese way." Tea was not discovered/invented by the Japanese -- not b=
y a
> long shot. Japanese teas are nowhere near as diverse as teas from other
> regions. Nor are the Japanese the primary tea consumers on the planet. =
It
> is my understanding that tea consumption is somewhat on the decline in Ja=
pan
> -- especially among the young. Other cultures around the world use teas =
in
> ways every bit as "spiritual" as the Japanese -- often with perhaps a bit
> less pomp and circumstance.
>
> Yet potters seem collectively bound to bow in reverence toward Japan
> whenever tea and ceramics come together -- or, for that matter, whenever
> "ceramics" emerges as the topic of the moment. Japan has become the
> contemporary Mecca for ceramics students in academia, potters constantly
> speak in hushed tones and high reverence of the designated Japanese
> "masters" and "national treasures" and I read of yunomi they make selling
> for thousands upon thousands of dollars.
>
> "Wabi-sabi" is, for many, the excuse to eschew discipline. Lofty argumen=
ts
> are made to "explain" to the infidels just why it is they are incapable o=
f
> ever grasping the mystic truths embodied in such forms. Much is said abo=
ut
> "natural imperfections and incompletion" as potters seeking to emulate th=
e
> sacred style contrive wobbly bats and intentional finger-gouges "so it wi=
ll
> appear more natural."
>
> Spare me.
>
> Tea is a wonderful elixir, made so by nature and by the many hands and
> processes that move it from tree to cup -- and also for its myriad uses.
> Enjoying TEA and its breathtaking spectrum of tastes is what it's all abo=
ut.
> Perhaps this is done as a gesture of welcome to a stranger or friend, a
> pause for refreshment or just for the hell of it. The tea bowl, yunomi o=
r
> jelly jar one chooses to use is secondary to the lead actor, the tea. Ye=
s,
> the vessel should present the tea in its best light. It should be pleasi=
ng.
> It should never detract. But, in my own opinion, stressing over precis=
e
> definitions in accordance with Japanese traditions and warning against
> certain uses of tea ware because that is not how it is done in Japan smac=
ks
> of missing the point.
>
> The Japanese have many wonderful inventions and traditions for the taking=
of
> teas. So do others, such as the Chinese, the Indians, the Brits, the
> Moroccans, The Russians and, yes, even the Americans.
>
> I suspect academia plays a huge role in all of this. Teachers choose top=
ics
> and emphases. Students pick them up and act on them. In the thick of it
> everybody misses the point and neophyte potters, not wanting to miss out,
> train themselves to join in. The show goes on and the wall rises higher
> around us.
>
> To repeat, I do not mean to offend anyone. This is only my personal
> opinion. I post it because I believe a different perspective is needed.
> After all, there might be new potters lurking at this very moment...
>
> Fred
>
>
Antoinette Badenhorst on sun 21 mar 10
Bruce, I love your comments. Honesty, honesty, honesty is what it is about.=
=3D
I've seen so many times how people tried to do the "African culture" Very =
=3D
seldom does people succeed and if they just know how it was viewed from S A=
=3D
fricans. Maybe that was one of the reasons why I went from pit fire to porc=
=3D
elain high fire with my work, I could not comment on my country of birth as=
=3D
I used to do. And that is why I will never say I make tea bowls.=3D20
Anyway, while I am writing this e-mail, Lee was the only one that did pay a=
=3D
ttention to all the different teabowls and I so appreciated it. Some simply=
=3D
shared the knowledge that they had, which was also very much appreciated, =
=3D
but there were claims that the teabowl belong to Japan......not so wise....=
=3D
.....=3D20
Antoinette Badenhorst=3D20
Lincolnshire, Illinois=3D20
----- Original Message -----=3D20
From: "Bruce Bowers" =3D20
To: Clayart@LSV.CERAMICS.ORG=3D20
Sent: Saturday, March 20, 2010 5:08:16 PM GMT -06:00 US/Canada Central=3D20
Subject: Re: Tea bowls -- yunomi -- I have failed... (long)=3D20
As someone who stuggles daily with the simplicity of creation, and the=3D20
immense challenge of allowing nature to take its course in my work, I can s=
=3D
ay=3D20
with a fair degree of assurance that the minute we try to "make things look=
=3D
=3D20
more =3DC2=3DA0natural," we blow the whole thing.=3D20
One way of developing one's work is to see it as coming into =3DC2=3DA0bein=
g in=3D
the=3D20
moment before thought arises.=3D20
There is a quote by the contemporary composer, John Cage, that goes like=3D=
20
this:=3D20
"When I first go into my studio, I take with me everyone and =3DC2=3DA0ever=
ythi=3D
ng=3D20
that I have ever loved, disliked, respected, been intimidated by, or=3D20
influenced by.=3D20
As I begin working, these people, ideas, and things begin to =3DC2=3DA0leav=
e.=3D
=3D20
Sometimes they leave in groups; sometimes one by one.=3D20
When I really begin to work, I leave, too,"=3D20
The work still got done. =3DC2=3DA0You can buy his CD's in any music =3DC2=
=3DA0stor=3D
e. He is=3D20
recognized as one of the most original, unrestrained, =3DC2=3DA0unconventio=
nal,=3D
and=3D20
influential composers of the 20th century.=3D20
I would hazard to say that his knowledge of classical forms of composition,=
=3D
=3D20
=3DC2=3DA0as well as of contemporary modes of improvisation, was astronomic=
al.=3D
=3D20
I agree that being caught up and fenced in by another culture's view of=3D2=
0
aesthetics and the associated details =3DC2=3DA0of such is a move toward se=
lf=3D
=3D20
conscious reverence.=3D20
Japan is a pretty opaque culture in some regards. =3DC2=3DA0It is almost=3D=
20
impossible, and certainly pointless to work from the viewpoint of any cultu=
=3D
re =3DC2=3DA0other=3D20
than the one you are in right here and right now=3D20
Has anyone ever visited a foreign country where people try to be=3D20
"Western?" =3DC2=3DA0The attempt, in our eyes. is often lame and even =3DC2=
=3DA0sil=3D
ly.........just try=3D20
a country/western bar in Osaka.=3D20
The more baggage that can be thrown out, and the more our sense of form,=3D=
20
proportion, and muscle memory develops, the more natural to ourselves=3D20
(whatever =3DC2=3DA0one's idea of that might be) we have a chance to be.=3D=
20
Then our work can be loose, tight, whatever.....but true to us.=3D20
As a local disc jocky in the DC area says, ........"Not a sermon, just =3DC=
2=3D
=3DA0a=3D20
thought."=3D20
Bruce Bowers=3D20
In a message dated 3/20/2010 14:18:50 Eastern Daylight Time,=3D20
fhparker@YAHOO.COM writes:=3D20
When =3DC2=3DA0this thread began I vowed I would stay out of it because I k=
now =3D
my=3D20
opinions =3DC2=3DA0will not be to the liking of some and, currently, I have=
no=3D
=3D20
interest in =3DC2=3DA0engaging. =3DC2=3DA0However, I cannot keep this up. =
=3DC2=3DA0I h=3D
ave no intent=3D20
to=3D20
offend, but I have to say it:=3D20
I am amazed that potters, a group =3DC2=3DA0whose success demands openness =
of=3D
=3D20
thought,=3D20
creativity and intellectual =3DC2=3DA0exploration, has been so hijacked by =
the=3D
=3D20
"Japanese way." =3DC2=3DA0Tea was not =3DC2=3DA0discovered/invented by the =
Japanese=3D
-- not by=3D20
a=3D20
long shot. =3DC2=3DA0Japanese =3DC2=3DA0teas are nowhere near as diverse as=
teas fr=3D
om other=3D20
regions. =3DC2=3DA0Nor are =3DC2=3DA0the Japanese the primary tea consumers=
on the =3D
planet. =3DC2=3DA0It=3D20
is my =3DC2=3DA0understanding that tea consumption is somewhat on the decli=
ne i=3D
n=3D20
Japan=3D20
-- =3DC2=3DA0especially among the young. =3DC2=3DA0Other cultures around th=
e world =3D
use teas=3D20
in=3D20
ways every bit as "spiritual" as the Japanese -- often with perhaps a =3DC2=
=3D
=3DA0bit=3D20
less pomp and circumstance.=3D20
Yet potters seem collectively =3DC2=3DA0bound to bow in reverence toward Ja=
pan=3D
=3D20
whenever tea and ceramics come =3DC2=3DA0together -- or, for that matter, w=
hene=3D
ver=3D20
"ceramics" emerges as the topic =3DC2=3DA0of the moment. =3DC2=3DA0Japan ha=
s become=3D
the=3D20
contemporary Mecca for ceramics =3DC2=3DA0students in academia, potters con=
stan=3D
tly=3D20
speak in hushed tones and high =3DC2=3DA0reverence of the designated Japane=
se=3D
=3D20
"masters" and "national treasures" and =3DC2=3DA0I read of yunomi they make=
sel=3D
ling=3D20
for thousands upon thousands of =3DC2=3DA0dollars.=3D20
"Wabi-sabi" is, for many, the excuse to eschew =3DC2=3DA0discipline. =3DC2=
=3DA0Loft=3D
y arguments=3D20
are made to "explain" to the infidels =3DC2=3DA0just why it is they are inc=
apab=3D
le of=3D20
ever grasping the mystic truths =3DC2=3DA0embodied in such forms. =3DC2=3DA=
0Much is=3D
said about=3D20
"natural imperfections and =3DC2=3DA0incompletion" as potters seeking to em=
ulat=3D
e the=3D20
sacred style contrive =3DC2=3DA0wobbly bats and intentional finger-gouges "=
so i=3D
t will=3D20
appear more =3DC2=3DA0natural."=3D20
Spare me.=3D20
Tea is a wonderful elixir, made so by nature =3DC2=3DA0and by the many hand=
s an=3D
d=3D20
processes that move it from tree to cup -- and =3DC2=3DA0also for its myria=
d us=3D
es.=3D20
Enjoying TEA and its breathtaking spectrum of =3DC2=3DA0tastes is what it's=
all=3D
=3D20
about.=3D20
Perhaps this is done as a gesture of welcome =3DC2=3DA0to a stranger or fri=
end,=3D
a=3D20
pause for refreshment or just for the hell of =3DC2=3DA0it. =3DC2=3DA0The t=
ea bowl,=3D
yunomi or=3D20
jelly jar one chooses to use is secondary =3DC2=3DA0to the lead actor, the =
tea.=3D
=3DC2=3DA0Yes,=3D20
the vessel should present the tea in =3DC2=3DA0its best light. =3DC2=3DA0It=
should =3D
be=3D20
pleasing.=3D20
It should never detract. =3DC2=3DA0 But, in my own opinion, stressing over =
prec=3D
ise=3D20
definitions in accordance =3DC2=3DA0with Japanese traditions and warning ag=
ains=3D
t=3D20
certain uses of tea ware =3DC2=3DA0because that is not how it is done in Ja=
pan =3D
smacks=3D20
of missing the =3DC2=3DA0point.=3D20
The Japanese have many wonderful inventions and traditions for =3DC2=3DA0th=
e ta=3D
king=3D20
of=3D20
teas. =3DC2=3DA0So do others, such as the Chinese, the Indians, =3DC2=3DA0t=
he Brits=3D
, the=3D20
Moroccans, The Russians and, yes, even the Americans.=3D20
I suspect academia plays a huge role in all of this. =3DC2=3DA0Teachers =3D=
C2=3DA0c=3D
hoose=3D20
topics=3D20
and emphases. =3DC2=3DA0Students pick them up and act on =3DC2=3DA0them. =
=3DC2=3DA0In t=3D
he thick of it=3D20
everybody misses the point and neophyte =3DC2=3DA0potters, not wanting to m=
iss =3D
out,=3D20
train themselves to join in. =3DC2=3DA0The =3DC2=3DA0show goes on and the w=
all rise=3D
s higher=3D20
around us.=3D20
To repeat, I do =3DC2=3DA0not mean to offend anyone. =3DC2=3DA0This is only=
my pers=3D
onal=3D20
opinion. =3DC2=3DA0I =3DC2=3DA0post it because I believe a different perspe=
ctive is=3D
needed.=3D20
After all, =3DC2=3DA0there might be new potters lurking at this very moment=
...=3D
=3D20
Fred=3D20
| |
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