Article Name The Way of the Crafts Summary

Author Rudolph Arnheim In his essay, Rudolph talks about the beauty retained in daily objects such as utensils that we
have. He gives an example of Korean rice bowls which were made from 15th to 19th century and
are considered as prized possessions of many. They were acquired and appreciated for their
Publisher The MIT Press exquisite formal qualities by the Japanese masters of the tea ceremony. But, according to
Yanagi, tradition had gradually polished shape and production method, and the constant repeti-
Cambridge, tion of a piece of handiwork had perfected an elegance of stroke and sureness of proportion.
Place of Publication Massachusetts Yanagi's friend Shoji Hamada, a close friend of Yanagi and a great potter, tells us about how his
two kilns are great examples of the difference between exquisite and good craftsmanship.
Year of Publication Spring 1994
Using the smaller one, he is expecting the pieces that he makes to be glazed beautifully, with a
few fallabilities which he can control in his redoes. In the bigger kiln, he has no control of what
Keywords function, aesthet- possibilities can arise; either bad or good. He accepts his fate that he cannot control the pieces
ics, humble, being glazed in this kiln and gives way to nature to do its job of producing unique and exquisite
nature, scientifical- pieces. The relationship between unpretentious shape and the affinity of materials to nature
ly correct, kiln, was also stressed. He gives an example of Katsura Palace in Kyoto where the roof is supported
bathtub, organic by an untreated tree trunk. When in Japan, the traditional hot baths take place in a wooden bath
tub which feels warm and familiar to the skin whereas the western ceramic bath tub feels cold
and harsh, inspite of hot water being present. Throughout the article, a point is made which
Key Concepts invisible power, emphasises that there is a preference for organic shapes to exist in products which helps us
function and relate to the objects. The function in itself should be clear when we look at the form of a prod-
beauty, westerniza- uct. In this way, the author mentions that function and beauty are not exclusive of each other,
tion, daily use, sim- but go hand-in-hand because aesthetic in itself is a function. Scientists and mathematicians
plicity, proportions, argue that when something is beautiful, it is because it is scientifically correct.
harmony, symmetry In this sense, Rudolph talks about how the craftsmen work with their hands and the skill set
and balance they have, but to truly make a piece beautiful, it has to have gone through the course of nature,
changing it and moulding the object in a way that it feels organic and humble. This is what
makes something so exquisite and appreciable in the market.

Tanya Saini
TD UG20
S2000037
Craft Doc Orientation