Lee Love on tue 23 sep 03
makes a pot impercious to liquids?
"The best pots for me are the pots that I like." --Shoji Hamada
(1894-1978)
Original Message -----
From: "Malcolm Schosha"
>
> I tend to avoid attacking pottery of various traditions,
So do I. I apologize if you perceived my preferences and my
explanations of "why" as an attack, it wasn't my intention.
>prefering instead to explain what I like and why.
If you re examine my post, this is exactly what I did, please
re-read what you quoted:
>
> These tend not to be my favorite pots, because I prefer more
>gestrual forms.And also, they tend to be about containment, rather
>than offering, and the intellect, rather than feeling. In the East,
>bowls are much more important. I've mentioned here in the past,
>that I think part of the reason why these Western pots may seem to
>emphasis containment, is because in the West, the dominant right
>hand is on the outside of the pot. In the East, the dominant hand is
>in the inside. Even with closed forms, instead of the feeling of
>containment, you get the impression that the pot was "grown"
>from the inside out.
As you can see, I compare gesture, feeling, an intellectual approach
vs. feeling, and containment and offering. I didn't say one was better
than the other, only that I preferred one over the other.
Of course, not every piece of work of the East or the West fall
under one other the other categories. If you examine pottery from all
cultures, the older work, which you might say is partially responsible for
the origins of civilization, is always plainer and more intuitive. As
cultures become more elaborate and more intellectual, they tend to move away
from feeling and intuition, unless an effort is made not to do so. The
first step in making an effort is to recognize the effect and make conscious
efforts toward cultivating intuition and feeling.
Another aspect of obscuring good form is decoration, weather it is
by glaze, slip
or terra sig. Glaze isn't the only culprit. Like I mentioned previously,
my favorite pots, even thought they might not be the best pots for
everybody, can be appreciated by a blind man.
> If you would like, I will point out for you the weakness of the Japanese
>tradition, which are many.
Yes, please do. But it would be best if you followed your own
advice and stick to describing your preferences and explaining why. I
jumped into this discussion because I thought your ideas about glazed ware
did not cover the whole range of the types of work or the reasons why they
are used. For instance, glaze is not necessary on vitrified ware to make
them functional.
And I'll join in with criticism, because aspects of Japanese pottery suffer
from the
same problems, especially the pottery made for the court.
Japanese pottery isn't my favorite pottery, but the Japanese
pottery I think is the
strongest in not like my own work. If fact, it is unglazed, handbuilt
earthenware: Jomon era pottery.
"The best pots for me are the pots
that I like." --Shoji Hamada (1894-1978)
--
Lee In Mashiko, Japan Lee@Mashiko.org
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