Studio: international art (24.1902)

The Potter s Art

a water-lily would be ill-
adapted for holding a rose,
and one in which a crocus
would look its best could
not be expected to carry a
branch of almond blossom
becomingly. Differences of
form are, therefore, essen-
tial as well as differences
of style.

The Japanese have a
charming method of dis-
playing flowers whose natu-
ral abode is upon the banks
of a pond or stream, or in
the water itself. They select
a vessel of the shape more
or less of a very shallow
tub — indeed, a specially
made shallow wooden tub,
covered with black lacquer,
is often used for the pur-
pose. This they fill to the
brim with water. The water
flowers are arranged in it
by means of certain metal
or wooden attachments, so
as to assume a natural

" pit entrance of her majesty's theatre" by yoshio markino _, . . .

(See London studio-Talk) appearance. 1 he imitation

of Nature, however, is not

not vie with the flowers placed in them, but carried further than is necessary to secure a beauti-
rather that they shall enhance their beauty. Like ful effect. It may readily be imagined that water
the Egyptian water-bottle
and the Devonshire pitcher,
they must be entirely
adapted to the uses to
which it is intended they
shall be put. Their function
is a subordinate one, and it
is manifestly unfitting that
they should ape the forms
and outward appearance or
objects intended for other
purposes.

In considering the form
a flower vase should take
we have first to decide what
class of flower it is intended
to hold. We may reason-
ably wish to see the flower
placed in the position it
assumes when growing.

Consequently a receptacle "tea house, Kensington gardens" by yoshio markino

suitable for the display of (See London Studio-Talk)

55