"THE WESTERN POTTER" NO. 6. October, 1966.

EDITORIAL

We would like to extend our deep sympathy to Mr. Schwenk
and his daughters for the untimely death of Mrs Schwenk.

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The question of colour in glazes appears to have stirred so much
interest that an expansion of the aesthetic expressed in previous
editorials is appropriate. However, in order to examine the question
in better context, some broad preliminary statements are in order.

Historically, the ceramic world divides itself into two classes -
cultures that used clay alone and cultures that produced glazed ware,
In the former case, the lack of glaze proved no great disadvantage.
We are all familiar with the remarkable achievements of the North
American Indian. There is no doubt that some of the finest pots wer >
made by cultures that had no knowledge of glazes and the reason is
due in part to the fact that the pots from such cultures had to stand
primarily on their sculptural quality, their form. Decoration com-
plemented but rarely exceeded form. The discovery of glazes
opened up a vast range of new possibilities for surface treatment.
But the thoughtful potter immediately ran into a dilemma, for pots
could now express both sculptural and painterly values. The
resolution of these two factors is extremely difficult. The Persians
solved the problem by subduing form and enriching surface. Their
pots tended to act as supports for surface. On the other hand, the
Sung potters subdued surface in order to accentuate form.

The ideal, the harmonious balance of these factors, can be found in
nature where the surface of a rock, the bark of a tree or the colour
of a fungus in no way conflicts with the form or essence of these
things. The potter strives for that subtle balance where surface
becomes an outgrowth of form where it expresses, as in nature, the
manner of growth and actual substance of the work. Potters have

1,