Studio: international art (46.1909)

The Cha-no-yu Pottery of Japan

approaching the tea room, the mind must
be freed from all troubles, from anxieties,
from ambitions, and be open to receive and
to record the lightest impressions. Small
wonder is it, therefore, that the appurten-
ances of the ceremony were without osten-
tation. But even if unassuming, they were
not consequently devoid of interest. They
were not the outcome of the ’prentice-hand
and the tyro. They were not faulty in con-
struction, not commonplace, not machine-
fig. 26. cake dish, hakima decoration made, not inadequate. On the contrary,

they were the productions of master-crafts-

FIG. 27. TEA BOWL, MISHIMA DECORATION, YATSUSHIRO

of operation, but rather to retain and to show in the
frankest possible manner every detail of manipula-
tion. The brush stroke might, in some cases, be a
tour de force beyond the powers of the average
potter to imitate; but, be this as it may, it is
certain that the result obtained has a distinct
artistic charm which is altogether absent from
mechanically finished pottery, no matter how ex-
pensive or elaborate may have been its manner of
production and decoration.

To rightly gauge the true value of Cha-no-yii
pottery, one must endeavour to put oneself in
the frame of mind which was judged to be the
correct attitude of participants in the ceremony.

The teachings of the philosopher Laotze, as set
forth in his great work, “The Book of the Simple
Way,” inculcate the advantages of simplicity, of
gentleness, of humility. “ As for you, do you
come forth in your natural simplicity, lay hold
on verities, restrain selfishness, and rid your-
selves of ambition.” “ He who is content can
never be ruined.” “ To remain gentle is to be
invincible.” “ Hold fast to three precious things ;
the first is gentleness, the second economy, the
third humility,” are a few of his sayings culled
at random from Mr. Walter Old’s translation.
Boasting, display of wealth, self-assertiveness,
were of all things the most intolerable. In

men, and preserved m themselves many
mysteries of workmanship undiscovered in
modern times. They were made to fulfil
certain requirements, and succeeded in
their purpose far more completely than do
the general products of the art of to-day.
The precepts of Laotze are as beautiful and
as valuable now as they were when they
were written, two thousand four hundred
years ago, and they still survive in the
writings and teachings of some modern
sages; but in their practical observance we
seem to be in these times of unrest as in-
different as of yore. Power of conquest, the strife
for wealth and position are as universal as ever
they were, and the true significance of the Simple
Way, and with it, the Soul of Art, is unsought
and unknown to the larger mass of humanity.
Art does not exist alone for the wealthy and great
ones of the earth. It may sometimes be found in
the simplest home, in the unpretentious endeavours
of earnest and of humble folk. The old Zen priests
and Cha-jin were mindful of these things and alive
to the evil of ostentation; and, by means of the

FIG. 28. TEA BOWL, MISHIMA DECORATION,
YATSUSHIRO WARE

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