Sublime

Rikyu took the baton of artlessness from his predecessor, Ikkyu, when he introduced Korean craft pottery into his tea ceremony. The Korean potters, who might have made a hundred similar pots in a day, were probably totally devoid of any thought of artistic aspirations as they worked, and it was just this lack of intellect that proved so attractive

Little has been done in Europe with ash glazes, but in Japan the ash glaze has been a predominant feature of pottery since its use was first discovered in the Nara period. The desire for a nonuniform surface that can catch, in the glaze of each pot, the irregularities of nature hails back to the Japanese love of things that are imperfect and

‘Before you do that, could you sprinkle that stuff in the little ceramic jar into the pot?’ ‘All of it?’ ‘All of it. Scatter it all over, then give the soup a good mix with the ladle. Then whack the heat up. Simmer everything for a bit, crack the egg in, then turn the heat off and pop the lid on right away. Not tightly, though – leave it a little

Teishin,

In medieval Japan, under the patronage of the Zen monasteries and the Kamakura shogunate, the prevailing preference for simplicity and modesty were slowly introduced into the styles of the ceramics produced.