Linearity in Tradition

　Makoto Hatori

Creativity requires some preconditions. To make/create things does not necessarily mean creativity. I would like to sketch a few restrictive conditions that can be observed in the world of Japanese work (making goods) and by that describe the spirituality in Japanese work. Through that, I believe my position will manifest itself in the midst of the current information/knowledge society.

Japanese tradition is, in a sense, like straight line. The tradition is projected as a straight line onto history as well; straight line or linearity means active and easy-to-understand transmission of information. Straight line is simple, non-intelligent, fresh. It defies self-indulgence. This is an essential characteristics of many Japanese traditional handiwork and artiste, whose techniques are refined by means of repetition of simple things. Often, when instruments/tools are used in the process of discipline, they are seen with "personality" and come to be respected. It is ultimately hoped that the subject/artist herself/himself becomes fused to the instruments/tools. Instruments/tools thus transcend themselves. As a result, the subject/artist live with instruments/tools even if they become defective. Instruments/tools can obtain an aura of the sublime. The whole existence of the user comes to be dependent on instruments/tools. They become symbols. The same can be said about raw materials; work or making things is seen as a "dialogue" with raw materials as "personality".

To transcend form and look for the essence in spirituality does not mean to deny the form itself. Rather, form is interpreted as a sublime symbol. Thus intellect is denied in the perception of spirituality; the consciouness of being uncouncsious is introduced. By obtain the formality or mode, the intellect which is denied is covered up and passive negation of self is introduced. Active denial of self comes when the expressor/creator induldge in the emancipated world of play. Obtaining form and mode leads to the truth of artistic activities for those with undeveloped logicality or intellect. Respecting the instruments/tools and raw materials as symbols, respecting their "personality", makes sure that they also support the creator/expressor. Pragmatic intelligence becomes an obstacle. This leads to the understanding that it is wise for creators not to talk about themselves.

The intelligence in this real world blocks one from obtaining the peace of mind of the self. Lineality in tradition is related not only to artistic matters but also to religion. Both deny logic and try to grasp the truth intuitively. Whether the form as a symbol or the object of worship is denied or not is just the reverse side of the coin. Form and mode gain excessive effectiveness after the denial of logic and intellect. It is convenient to master form and mode in order to arrive at spirituality straightfowardly. If the essence resides in the spirituality-through-experience, it is possible for people who lack intellect to grasp the essence by reliance on the handiwork and sense-by-repetition.

Japanese culture is symbolised by its traditional handiwork. The Japanese tradition which broadcasted tidy and neat sense of beauty denies intellect and project the information straightforwardly. Repeated "propaganda" for spirituality and religious-nature as an inherent essence of Japanese traditional culture... consciousness of the limitation of everything that exists... Spirituality which stages modesty. What is required now is to explain this limited context of creativity undelying in Japanese artistic scene to the information society which functions logically and on the basis of knowledge; it is necessary to creat "the present" in Japanese art by weaving the weft of intellect and logic into the warp of linearity.

This article was added in the www.studiopottery.co.uk - the UK's leading on line information site linking potters, galleries and collectors with a shared enthusiasm for Studio Ceramics. October 2003

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