Beyond Entertaining 1 2 - PRINTER VERSION
>> How does pottery achieve this aim? An intrinsic element of pottery is that it is made not only to be seen, but also to be used that is, to be touched, held, and even tasted. This simple fact that pottery is meant to be perceived by all the senses gives it possibilities for communication unavailable to most other art forms. For example, when one first confronts a pot, one uses the eye and the intellect to make judgments about it. Is the shape pleasing? What about the color and surface decoration? Once one picks it up, however, the intellect takes a back seat to the physical senses. The sense of balance is confronted and touch comes into play. Is it heavier or lighter than it looks? How does the surface feel? Rough? Smooth? Uneven? Finally there is the experience of taste how it feels as it touches our lips and how we relate the pot with the food or beverage it contains. Is it comforting? Stimulating? Does it refresh us or leave us wanting more? How we find ourselves responding to those sensations and what they cause us to feel are all elements the intelligent, creative potter uses to communicate his or her own particular vision. The pot becomes a whole universe that intimately speaks to our physical, psychological and spiritual aspirations, doubts and fears. It is this ability to appeal simultaneously to both the highest and most basic aspects of human nature that makes pottery special.
John Ruskin wrote in Modern Painters that there were two kinds of art. The first kind induced "in the spectator's mind the faithful conception of any natural objects." The work of the first kind of artist, he says, "is usually united with the selection of such objects as may be naturally pleasing to all men, at all times; and this selection, when perfect and careful, leads to the attainment of pure ideal." The second kind of artist on the other hand, "selects his objects for their meaning and character, rather than for their beauty; and uses them rather to throw light upon the particular thought he wishes to convey, than as objects of unconnected admiration." It is art of this second type that Ruskin feels has the higher aim because it is involved in the expression of the awakening of individual thought. When we look at the work of the second type of artist we are not, Ruskin says, "looking at a specimen of a tradesman's wares, of which he is ready to make us a dozen to match, but at one coruscation of a perpetually active mind, like which there has not been, and will not be another."
The creation of good pottery is largely a matter of expectations. The potential for Ruskin's second type of art is there, but if it is to be realized, potters must not only want it for themselves but also insist that their work be seen and treated as a serious form of expression in its own right.<<
References:
1. Modern Painters, republished by Alfred A. Knopf, 1987.
2. Joseph Campbell, The Power of Myths, Doubleday, 1988.
© 1980 - 2024 Rob Barnard . All Rights Reserved. Site design: eismontdesign
>> How does pottery achieve this aim? An intrinsic element of pottery is that it is made not only to be seen, but also to be used that is, to be touched, held, and even tasted. This simple fact that pottery is meant to be perceived by all the senses gives it possibilities for communication unavailable to most other art forms. For example, when one first confronts a pot, one uses the eye and the intellect to make judgments about it. Is the shape pleasing? What about the color and surface decoration? Once one picks it up, however, the intellect takes a back seat to the physical senses. The sense of balance is confronted and touch comes into play. Is it heavier or lighter than it looks? How does the surface feel? Rough? Smooth? Uneven? Finally there is the experience of taste how it feels as it touches our lips and how we relate the pot with the food or beverage it contains. Is it comforting? Stimulating? Does it refresh us or leave us wanting more? How we find ourselves responding to those sensations and what they cause us to feel are all elements the intelligent, creative potter uses to communicate his or her own particular vision. The pot becomes a whole universe that intimately speaks to our physical, psychological and spiritual aspirations, doubts and fears. It is this ability to appeal simultaneously to both the highest and most basic aspects of human nature that makes pottery special.
John Ruskin wrote in Modern Painters that there were two kinds of art. The first kind induced "in the spectator's mind the faithful conception of any natural objects." The work of the first kind of artist, he says, "is usually united with the selection of such objects as may be naturally pleasing to all men, at all times; and this selection, when perfect and careful, leads to the attainment of pure ideal." The second kind of artist on the other hand, "selects his objects for their meaning and character, rather than for their beauty; and uses them rather to throw light upon the particular thought he wishes to convey, than as objects of unconnected admiration." It is art of this second type that Ruskin feels has the higher aim because it is involved in the expression of the awakening of individual thought. When we look at the work of the second type of artist we are not, Ruskin says, "looking at a specimen of a tradesman's wares, of which he is ready to make us a dozen to match, but at one coruscation of a perpetually active mind, like which there has not been, and will not be another."
The creation of good pottery is largely a matter of expectations. The potential for Ruskin's second type of art is there, but if it is to be realized, potters must not only want it for themselves but also insist that their work be seen and treated as a serious form of expression in its own right.<<
References:
1. Modern Painters, republished by Alfred A. Knopf, 1987.
2. Joseph Campbell, The Power of Myths, Doubleday, 1988.
© 1980 - 2024 Rob Barnard . All Rights Reserved. Site design: eismontdesign