Sublime

Teishin,

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

Rinzai Roku (a celebrated Zen text of the T’ang dynasty) and the teachings of Bankei, the seventeenth-century Japanese master who, for me, represents Zen at its best.

Basho wrote his haiku in the simplest type of Japanese speech, naturally avoiding literary and “highbrow” language, so creating a style which made it possible for ordinary people to be poets. Bankei, his contemporary, did just the same thing for Zen,

(see the Appendix for info on the 2009 edition, the “Shin Shogen”),