The Journal of Australian Ceramics Vol 50 no 1 April 2011
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
Archive: Pottery in Australi a, Vo l 18 , No 2, October Nove mber 1979<br />
at his master's door the masler invited<br />
him in lor supper. This was in the dark<br />
01 midnight and Herrigel saw that in his<br />
master's training hall there was a distance<br />
01 30 metres Irom where he was<br />
standing. <strong>The</strong> master lit incense to create<br />
dim lighting and then instructed Herrigel<br />
to shoot at the target. <strong>The</strong> master told<br />
Herrigel to shoot in the same posture<br />
which he had been practising lor all<br />
those years. When he shot, the l irst<br />
arrow hit the bull's eye and the second<br />
hit the arrow that hit the bull's eye. <strong>The</strong><br />
Japanese way 01 learning, especially in<br />
an artistic sense, locuses on the importance<br />
01 patience. By experiencing long<br />
and sound practice 01 patience which<br />
could be lull <strong>of</strong> agony and at times, perhaps<br />
ecstasy, I feel that it is through<br />
that sort 01 process that one can attain<br />
a certain state 01 truth. I believe that this<br />
particular way 01 attaining truth is <strong>no</strong>t<br />
unique to the Japanese alone. I am<br />
aware that the same truth applies to a<br />
large number 01 very well accomplished<br />
artists throughout the world.<br />
Now, more specifically, when I come to<br />
regard what is really my art, especially<br />
in the formal sense, my most lundamental<br />
premise is Simplicity. You probably<br />
realize that amongst some 01 the<br />
works I have created during my stay in<br />
this country, there are some pieces 01<br />
work complelely white in colour. When<br />
I was creating various pieces with <strong>no</strong><br />
other colour but white, I was actually<br />
going through a very sad part <strong>of</strong> my liIe<br />
in which some 01 my close relatives died.<br />
Those sad days made me search, even<br />
deeper, lor the meaning 01 what human<br />
lile Is all about. And it was with that leeling<br />
01 searching that the colour white<br />
emerged. That was my expression 01 the<br />
stale 01 Ii Ie I was experiencing at that<br />
time.<br />
Since I came to this country I have had<br />
many opportunities in which to reltect as<br />
to what Australia is and what or who<br />
<strong>Australian</strong>s are, and lurthermore, being<br />
in a somewhat objective environment, I<br />
have had many occasions to reltect on<br />
what Japan is. I have also travelled quite<br />
widely within Australia to discover the<br />
incentive <strong>of</strong> the people in this country.<br />
While I was travelling throughout Australia<br />
I came across a myriad <strong>of</strong> scenery<br />
and features which were amazingly<br />
unique to th is country, and <strong>no</strong>thing like<br />
I have ever seen elsewhere. That certainly<br />
had a tremendous impact on me.<br />
I am sure that you would appreciate by<br />
looking at my work which I have created<br />
so far, that I have absorbed immensely a<br />
certain feeling about this country. t can<strong>no</strong>t<br />
exactty pin point what parts <strong>of</strong> this<br />
tand inltuenced my work. but the blue<br />
sky and btue water <strong>of</strong> Sydney certainty<br />
has given me some impetus which, in<br />
turn. came to be reltected in my art<br />
<strong>The</strong>se are <strong>no</strong>t the only signilicant things;<br />
there are many, many, counttess things<br />
which have given impact and inltuenced<br />
my art.<br />
A<strong>no</strong>ther amazing thing which I, myself.<br />
have found whilst looking at all <strong>of</strong> my<br />
work arranged according to chro<strong>no</strong>togical<br />
order, there are more pots in<br />
btack than I ever realized. By looking at<br />
my work in retrospect, I realize that there<br />
has been some inheritance <strong>of</strong> my Buddhist<br />
background which I unconsciously<br />
manifest through my work. This was one<br />
linding, or re-finding, which I have discovered<br />
about mysel'.<br />
Over the past thirteen years I have<br />
worked and lived with you and have had<br />
so many opportunities to rellect on so<br />
many questions. I have recently extended<br />
my thoughts, viewing the complexity and<br />
array 01 the world in which we live as to<br />
what my particular concern is, and I leel<br />
that at least, for me, it is high time to<br />
rethink and redefine what human happiness<br />
really is and means to me.<br />
I am going back to Japan where, <strong>no</strong><br />
doubt, I will continue my life philosophy<br />
and life style as I have done so over the<br />
past thirteen years or so, primarily seeking<br />
truth, goodness and beauty.<br />
I certainly would cherish most pr<strong>of</strong>oundly<br />
the friendship that you have extended to<br />
me and once I have gone, I will certainly<br />
cherish the memories <strong>of</strong> your friendship<br />
even more. So much so that this would<br />
4<br />
THE IOURNAL OF AUSTRALIAN CERAMICS APRIL <strong>2011</strong> 99
Change language