zen and the art of pottery

National Art Education Association

Zen and the Art of PotteryAuthor(s): Kenneth R. BeittelSource: Art Education, Vol. 43, No. 2 (Mar., 1990), pp. 6-15Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3193201 .

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Z n Writing about Zen and the art of pottery i..e en is as nonsensical as writing about art and

education, for the very words for which I

and need definitions will not submit to them. My terms are lived realities or they are nothing at all - perhaps worse than nothing, for

t e groundless words can detract more than help, whereas silence invites discovery,

A r. newness, even chance, at least some Art space and time into which the universe and

all its infinite potential can manifest in of whatever way it comes ... in whatever non-

expectedway it comes! What can I be but innocent and trans-

Pott er parent before this task? Is it a task? That smacks of a problem; and I have learned that in the gymnastics of the mind, to give up the problem reveals the solution. So, there; it's off my chest. I just can't write about Zen and the art of pottery. The solution lies ... where? There's the mind again. But that's part of me, too. There's nothing I need part with to be engaged in Zen and the art of pottery. I can love my mind as well. It's part of me, part of that which arises as my self. What if it crowds me with chatter in which I hear echoes of my parents, my teachers, my professions, my cultural trance? I can love that as part of the mystery of my self, as that part that wants to protect my hidden belief in my "identity." Isn't this article by Ken Beittel? But there is no identity called "Ken Beittel" that would not better be set aside at this moment. If only you could not recognize "Ken Beittel" in this article! That is, you could not "cognize" me "again". I would destroy your expectancies. That would be truly Zen!

Let's take a look inside a clay jug as a first step in quieting the mind's incessant chatter:

Inside this clay jug are canyons and pine mountains,

And the maker of canyons and pine mountains!

All seven oceans are inside, and hundreds of millions of stars.

The acid that tests gold is there and the one who judges jewels.

And the music from the strings that no one touches, and the source of all water.

If you want the truth, I will tell you the truth; Friend, listen: The God whom I love is inside.

Let's continue in this vein. What is pottery?

Pottery is the humblest of man's arts. Even before it became metaphor, pottery brought Earth to shine forth in man's world. It is best when it is most earth-honest; that includes process-honest, fire-honest, honesty of being itself. Often a beginning potter will hone a simple bowl down to where it breaks through and will learn that a pot is made of nothing - and earth. A potter's labor is consumed within the work, the craft within the art. Mere expressive- ness has no depth compared with rocks and mountains, sand and sea, which speak of being and presence. Forms innovate through subtle differences of individuality within the world's infinite and pervasive roundness. The shape of nothing and of space is curved. The movement of hand and arm, head and trunk, body and mind is curved.

A cup is the sacrament of drink, a bowl the benevolent nurturance of sustenance. We have commerce with "cupping" and "bowling", not with objects at rest. But this is all too poetic unless we see the sacred as the everyday. For then again, the potter thinks not, but celebrates at every wedg- ing; meditates on the nothingness of all forms at each centering; dies and is born again at each trial by flame. Young potters are like determined oaks; old ones like flowing willows: their works are at rest in fields and woods and beaches, and contain

Art Education/March 1990 7



Kenneth R. Beittel

Kenneth R. Beittel. Photo credit: John N. Beittel

6 Art Education/March 1990



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themselves patiently in museums. Pots play the range of the everyday-sacred, reflecting the vitality of children at play as well as the silence of a holy day. They are all. But actually, a pot's a pot: Earth come to stand as world to man.2

These are pointers. They will only work if the reader looks away from the pointing finger to what is being pointed at. So don't read them too closely, and not at all critically or judgmentally. The origin of Zen itself allegedly traces back to such a "pointing," when the Buddha held up a single flower in silence as his total sermon to his disciples.

The truly Zen pot, then, is like the Buddha's flower, a wordless sermon overflowing with unborn meanings. It's not just that pots want to be a part of nature, but that they are like nature in the transfor- mative power they hold over place and person alike.

In his "Anecdote of the Jar," Wallace Stevens intuitively demonstrates this interactionism:

I placed a jar in Tennessee, And round it was, upon a hill. It made the slovenly wilderness Surround that hill.

The wilderness rose up to it, And sprawled around, no longer wild. The jar was round upon the ground And tall and of a port in air.

It took dominion everywhere. The jar was gray and bare. It did not give of bird or bush, Like nothing else in Tennessee.3

Here we have a very Zen mood: the jar brings the sprawling wilderness together with its wordless presence. Nature itself is

absorbed into its qualitative wholeness, for it is "like nothing else in Tennessee."

Once, while unloading my outdoor stoneware kiln, in which I had just fired a half- year's continuous work, I began to place the pieces on the ground, amid leaves and grass, on back into the woods. I wanted to see whether the one presence - that of place - could absorb the other presence - of the pots. And could the presence of the pots affect that of place ? A synergy, a synchronicity of art and place where we as humans can dwell more fully, is our cultural Garden of Eden.4

There is a native stoneware clay that I have dug for years which repeats, in its ash-glazed or wood-fired range, the feel of the place of its origins. It is like a speckled rhododendron leaf fallen upon hemlock needles. Its fired, naked clay echoes the colors of the ground of its source. It is like nothing else in Pennsylvania.

Place is determined by where we dwell together just as much as where we dwell together is determined by place. One artist who found himself growing in a special environment said that his work was "like something waiting for a place to happen." His growth made the presence of that place just as much as the place made him grow.

This is the synchronicity and synergy I have alluded to - neither cause nor effect, but a reciprocity beyond these mechanical terms. A good pot creates, even demands or commands, place and space. It is to the indoors what rocks and ferns are to the outdoors.5

But laying claim to such values in pots is only possible when the pots themselves




? Vivienne della Grotta, 1979

fully participate in the free becoming of being. To do so, pots must arise out of the Zen of the simple act.

In Zen Buddhism there is a striking expression, honsho myoshu, which roughly means 'Wondrous practice is original enlightenment." This means that with the right mind, right attitude, and right practice, the potter creates through his work the discipline that is already the expression of enlightenment. Thus the creation of pottery as spiritual practice is not a means to the attainment of enlightenment, it already is enlightenment.

I know that the attitude endorsed here can be mind-boggling. My pots are as good as I can make them, but since that is never good enough, I sometimes try to make them less so - like a part of nature, an object, a twig, a rock - each of which simply is, without any self-conscious thought of beauty. The hope is that such pieces were created in a complete simplic- ity, in an innocence of intention, under a paralysis of trying too much, too hard. Then, in truth, I would be living the medita- tor's cogito: I am not, therefore I am that. I have become one with nature, and in so doing, "the visible order of the universe is but the reflection of an invisible order" (Hermes Trismegistus). In this way the literal, figurative, and transcendent become one; speaking, signifying, and concealing become one; nature, the human, and the divine become one - for the pottery initiate on a spiritual path has learned to "speak" on all three levels at once. The uninitiated can hear one of these levels - perhaps two - but never all three.6

But the "simple act" also arises out of the depths of nature and out of the feminine, intuitive consciousness, out of the earth itself, which nurtures what no one

can see. The mythic settles into the clay- worker's hands.

Writers have spoken of myth as that which takes over the night spaces of the mind. It is as though there is a native or folk wisdom more bred in the bone marrow than in the brain. Archetypes permeate our dreams and our relationship to nature, both within and outside our body-minds. In a time of the breaking of myths, they become even more important. Our loss of innocence in the sphere of belief presses upon us as moderns. We long to stand alone before the ocean or in a virgin forest. We long to stand together in unreserved love.

The community of work in pottery under the Great Tradition stimulates these less than conscious mythogenic forces. Before the elemental wholeness evoked by clay work, we feel the need to participate in the unity of what Heidegger calls the four-fold: we stand between sky and earth, between gods and men, as though we ourselves were the subject matter of a dialogue between these elemental forces.

It is therefore healthful to pick up a piece of clay to fashion a "kiln god" as a suppli- cation or collaboration with the unknown forces of fire ... Kiln gods are made without preconception and stand outside aesthetic criticism. Through searching fingers, at work according to an ancient urge, kiln gods clean out the mind. They deploy our technological need to control the fire and remind us of divine intervention in every important enterprise. They make it unlikely that we will hurry the fire or think small thoughts during the firing.7

Over the years, I have also made certain hieratic and primitive "clay pres- ences" bordering on the numinous. These are more sustained than kiln gods, more




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dreamlike. Here one finds primal mothers and valley spirits personifying the feminine, reflecting the fecund mystery of life conti- nuity. I have also been led to personify nature: the tree of life, the river spirit, the ocean, the mountain, and the arc of the sky. Sometimes they fuse into a total environment or landscape, a microcosmic universe of the universal.

In such a mood as these works occa- sion, I feel drawn toward the community of work which pottery seems naturally to evoke.

There is good reason why artistic learning takes place in some kind of community or, in its absence, in some kind of internaliza- tion thereof. The artist's world view is an ideal one, yielding the faith that fragments will at last come together, whatever their history of conflict on the way. Artists live in a kind of participatory and anticipatory wholeness. The artist's life is not founded on the idealist side, however, as much as it is on the progressive actions that qualita- tively lead imagination's encounter with feeling toward expression.

Within the Great Tradition stand count- less famous and anonymous souls, living and dead, who are my peers and friends. The ideal of community, of common work within a tradition or toward a common goal, always haunts the shadows of the studio and lingers within the working clutter of the kiln.

An organically unified working farm has about it a similar camaraderie, wholistically seen and experienced, through productive labor and the cycles of nature ... The pottery cycle itself is a microcosm of man- nature-culture. From digging clay to forming it into wares, to glazing and firing and distributing them, the flow of energy

from stage to stage is akin to that ordered by the seasons for the farmer. This irre- versible cycle is in itself a ground for

community, for it overpowers the individual will toward the common good. Even a lonely potter, like a farmer working alone, feels this kinship with unseen coworkers.8

Though I leared about tradition and about the vital link between a traditional art like pottery and Zen by studying with a

Japanese master in Japan, as the reader has seen, my allegiance is to a broader concept of tradition.

Some thinkers may say there is no more a Great Tradition than there is a great religion - only separate traditions and

separate religions. But we are on the way toward a planetary consciousness that makes this claim questionable. When I

speak of the East and pottery, I draw from

my experience with the Arita tradition, its details and its rituals. So what may be needed is immersion in one tradition simultaneous with liberation from it. In pottery, the West is high on liberation but low on tradition. On viewing clay pieces of Western art students, my Japanese teacher said, "Expression only; no depth." But we could as well say of much traditional art in the East: "Tradition only, no expression." Both traditions appear to be lacking.

Therefore I speak of my pottery as falling within a Great Tradition absorbing all of man's traditions of making vessel forms in clay, from earliest times to the present, East and West. At the same time, I ap- plaud Japan's effort to keep the traditional arts free and alive, for the very meaning of tradition is in danger of being lost to modern man. One thing seems certain to me: without vital tradition man has no way




? Vivienne della Grotta, 1979

of transforming the everyday into the sacred.

The Great Tradition... is no syncretism, no easy unity of what may be essentially irreconcilable. Rather it holds forth the prom- ise that beyond Zen and my Western influ- ences there is a planetary, religio-aesthetic basis to mankind's "clay dance." Pottery has the unique capacity to invoke the archetypes of form within an idiosyncratic piece made in widely diverse cultural and historical con-

texts. Again, this trait is strongly represented in Japan's pottery. It is as though, in a neat reversal, form and process make the pot and potter. The potterdreams his forms in a realm of the imagination between sense and mind. West here rejoins East, for within the creative imagination it is the "formless self," "the true man of no rank" -Zen expressions - who does the work. Thus the Great Tradition may be seen to transcend Zen, or more likely, to parallel it, by plunging us into imaginal space and qualitative time - the artist's peculiar state of grace and enlightenment.9




Meadow Rock Imprinted with Seven Aspen Groves, 1985, stoneware, carving through hakeme white slip, black stain, ash glaze, by Kenneth R. Beit- tel.

Within this Great Tradition of pottery, I see how decoration has played a primary role in celebrating the vital connection between our art and our life-world. The demise of true decoration in modern times is a reflection of our homeless state, of the decline of taste under sacred sanctions to the commercial- ism of ruling fashion.

One cannot demonstrate decoration; one can only decorate. As in all creation, the thought and the act clash in the birth of the new; thus neither all thought nor blind action will suffice.

I see two large modes or moods of decora-

tion: spontaneity with containment and spontaneity with dispersion, two poles that exploit the lyrical and the calligraphic on the one hand, and the symphonic and architectonic on the other. Either mode can take up the commemorative-poetic form and symbol drawn directly from one's life-world or turn toward archaeology of past art. Either mode can also take up the abstract, and with a more geometric ora more organic bias. Andcutting across both modes can be one of three attitudes: going with, going against, or ignor- ing the form or context of the pot. Further, the pot as round and near symmetry, can be received as open symbol for the universe, or as receptive of its structural complexity. In one case we have deep, ethereal, oceanic




space: the space of nothingness that can be pierced by the song of a bird, the quiet of a soft breeze on a cloudless night, or a heroic deed. In the other case, we have the strata and separations that complicate the struc- ture of each organic whole: the detailed complexity of organic nature, the symphonic harmony of a landscape by Rubens, Monet, or Bonnard.

In short, one might say that the decora- tions of pots can be all that we can be. But there are affinities. Spontaneity by containment prefers the space of nothingness in which the undivided lyrical event can occur. The moment will decide whether it will go with, against, or ignore the form. This is a fast-burning qualitative immediate present. All hangs on the immediate balance, and the scales are delicate. This is the act of heroes. Best to have the right form and brush and atmosphere. The strategic power must be encircled (or contained) by the forces of spirit...

Spontaneity by dispersion separates out the unity by refraction and diffraction into its ten thousand components. It suspends these in the vital medium of life and space. Sponta- neity by dispersion is a slow-burning, trust- ing, nurturing qualitative immediate present. The qualitative immediate present is all that man knows of eternity, so why not draw it out lovingly? If one lyrical passage is good, ten are better. One break in the mood, and the complicated fabric becomes busy work. This is the act of the tellers of epics. Best to have the right place and audience. The strategic power must be rhythmically distributed and apportioned by the forces of a unified spirit. For the ten thousand things are not one thing after another, but ten thousand things as one. The one and the many are the same universe. Containment and dispersion both re- flect the spirit alive in the qualitative immediate present.10

All of this, then, is something of the way I see Zen and the art of pottery and how it can expand naturally into what I call the Great Tradition. In following this view, a student becomes an initiate practicing pottery as an esoteric spiritual discipline.

When I teach beginners, there is much I cannot show them in their first and second years. In the third year, there is much for which they are preparing. In the fourth year, good students can sense something of what I cannot say, and in the fifth, inner vision begins to awaken. A tension develops between thought and action in the sixth year, and during the seventh year, despair sets in at the passage of time. In the eighth year, students are lost in clay, and by the ninth year, they are ready to take up their appren- ticeship within the Great Tradition."

And in classical numerology, the number 10 represents a rebeginning at level 1, but the 0 signifies that the new beginning has been raised to a spiritual level.

Kenneth R. Beittel, artist and writer.

References 1. Bly, R. News of the Universe. San Francisco:

Sierra Club Books, 1980. (Poem of Kabir, version by Robert Bly, p. 272.)

2. Beittel, K.R. Zen and the Art of Pottery. Tokyo and New York: John Weatherhill, 1989; p. 3.

3. Stevens, W. The Collected Poems of Wallace Stevens. New York: Alfred A. Knopf, 1954; p. 76.

4. Beittel, K.R. Op. cit., reference 2 above; pp. 112- 113.

5. Beittel, K.R. Ibid., p. 113. 6. Beittel, K.R. Ibid., p. x. 7. Beittel, K.R. Ibid., pp. 32-33. 8. Beittel, K.R. Ibid., pp. 27-28. 9. Beittel, K.R. Ibid., p. 9, pp. 11-12.

10. Beittel, K.R. Ibid., p. 85, pp. 88-89. 11. Beittel, K.R. Ibid., p. 127.




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