میرے لیے ایسے برتن بنانا انتہائی تسکین بخش ہے جنہیں لوگ استعمال کرتے ہیں اور جن سے ان کا واسطہ پڑتا ہے، نہ صرف ان کے گھروں میں دیکھنے کی حد تک بلکہ چھونے کی حد تک بھی — جب وہ انہیں اٹھاتے ہیں، رات کے کھانے کے بعد انہیں دھوتے ہیں، اور اسی طرح کی دوسری چیزوں میں۔
I find it really enriching to make pots which people are using and which they come in contact with, not only visually in their homes but tactilely - when they pick them up, when they wash them after dinner, and so on and so forth.
I find it really enriching to make pots which people are using and which they come in contact with, not only visually in their homes but tactilely - when they pick them up, when they wash them after dinner, and so on and so forth.
کسی ڈرائنگ یا پینٹنگ پر کام کرتے وقت، آپ بار بار اس میں تبدیلیاں کر سکتے ہیں، نئے خیالات آزما سکتے ہیں، یہاں تک کہ وہ آپ کی مرضی کے مطابق بن جائے۔ لیکن مٹی کے ساتھ یہ ممکن نہیں۔ آپ یا تو پہلی بار میں ہی کامیاب ہو جاتے ہیں، یا پھر آپ کو اسے گوندھ کر دوبارہ سے شروع کرنا ہوگا، کیونکہ مٹی کے ساتھ زیادہ توڑ پھوڑ کر کے آپ اس میں وہ تازگی نہیں رکھ سکتے۔
In working on a drawing or a painting, one can rework and rework and rework and change ideas until you get it the way you think is right at that time. With clay that's not possible. You either succeed the first time, or you should wad it up and start over again, because you can't mess around with the clay and still have it fresh.
In working on a drawing or a painting, one can rework and rework and rework and change ideas until you get it the way you think is right at that time. With clay that's not possible. You either succeed the first time, or you should wad it up and start over again, because you can't mess around with the clay and still have it fresh.
چیزیں بہت تیزی سے ہوتی ہیں اور جان دار برتن بنانے کے لیے ان کا تیزی سے ہونا ضروری بھی ہے، جو میرے نزدیک ایک اچھے برتن کا بنیادی حصہ ہے۔ لیکن اس کا مطلب یہ بھی ہے کہ آپ کسی خیال پر غور کر سکتے ہیں، اسے بدل سکتے ہیں، پھر بدل سکتے ہیں اور پھر بدل سکتے ہیں؛ میرا یہ مطلب نہیں کہ آپ ایک ہی برتن کو بدلتے رہیں، بلکہ آپ ایک برتن بناتے ہیں اور پھر اس سے ملتا جلتا دوسرا برتن بناتے ہیں؛ آپ ایک اور بناتے ہیں — آپ ایک دن میں 50 برتن بنا سکتے ہیں اور ان میں سے کوئی بھی ایک دوسرے کی ہو بہو نقل نہیں ہوگا، لیکن وہ سب ایک دوسرے سے جڑے ہوں گے کیونکہ اس خاص دن آپ کے ذہن میں اس کی شکل و صورت کے بارے میں کوئی نہ کوئی خیال چل رہا ہوتا ہے۔
Things happen very quickly and they have to happen quickly in order to have vitality, which I think is essentially part of a good pot. But in addition it means that you can explore an idea and change it and then change it and then change it; I don't mean by changing the one pot, but you make one pot then you make another that's related to that; you make another - you can make 50 pots in a day and none of them are going to be carbon copies of any other, but they'll all be related because there's something going through your mind about the form on that particular day.
Things happen very quickly and they have to happen quickly in order to have vitality, which I think is essentially part of a good pot. But in addition it means that you can explore an idea and change it and then change it and then change it; I don't mean by changing the one pot, but you make one pot then you make another that's related to that; you make another - you can make 50 pots in a day and none of them are going to be carbon copies of any other, but they'll all be related because there's something going through your mind about the form on that particular day.
اگر آپ پریس مولڈ سے برتن بناتے ہیں یا سلیب جوڑ کر برتن بناتے ہیں، تو اس میں چاک پر کام کرنے کے مقابلے میں بہت، بہت، بہت زیادہ وقت لگتا ہے۔ اور آج بھی میرا یہی نظریہ ہے کہ میرا کام زیادہ مہنگا نہیں ہونا چاہیے، تاکہ اگر لوگ اسے خریدیں اور وہ ٹوٹ جائے، تو دنیا ختم نہ ہو جائے۔ میری کوئی دلچسپی نہیں ہے کہ میری چیزیں عجائب گھروں میں رکھی جائیں، حالانکہ ہمارا کچھ کام وہاں پہنچ بھی چکا ہے، لیکن میرا مقصد یہ نہیں ہے۔
If you press-mold a pot or if you slab-build a pot, the work has got to take much, much, much longer than if you work on the wheel. And I to this day have the ideal that I want my work to be not too expensive, so that if people buy it and break it, it's not going to be the end of the world. I'm not interested in having things in museums, although some of our work has ended up there, but that's not what I'm striving for.
If you press-mold a pot or if you slab-build a pot, the work has got to take much, much, much longer than if you work on the wheel. And I to this day have the ideal that I want my work to be not too expensive, so that if people buy it and break it, it's not going to be the end of the world. I'm not interested in having things in museums, although some of our work has ended up there, but that's not what I'm striving for.
در حقیقت، میں اس حد تک مانتا ہوں کہ آج کا وہ انسان جو صرف مٹی سے شروعات کرتا ہے، بغیر کسی ڈرائنگ، پینٹنگ، فگر ڈرائنگ، اسٹیل لائف یا دوسری چیزوں کے تجربے کے، وہ بہت کچھ کھو دیتا ہے۔
In fact, I believe to a certain extent a person today who starts with just clay, with no drawing and no painting and no figure drawing, still-life drawing, various things, they miss a great deal.
In fact, I believe to a certain extent a person today who starts with just clay, with no drawing and no painting and no figure drawing, still-life drawing, various things, they miss a great deal.
ہم کم عمر میں سوچتے تھے کہ ہم کمھار بنیں گے، پینٹر بنیں گے، ٹیکسٹائل ڈیزائنر بنیں گے، جیولر بنیں گے، تھوڑا سا یہ بنیں گے اور تھوڑا سا وہ بنیں گے۔ ہم تو ایک طرح سے رینسانس (نشاۃِ ثانیہ) کے لوگ بننے والے تھے۔
We'll be potters, we'll be painters, we'll be textile designers, we'll be jewelers, we'll be a little this, a little of that. We were going to be the renaissance people [when we were young].
We'll be potters, we'll be painters, we'll be textile designers, we'll be jewelers, we'll be a little this, a little of that. We were going to be the renaissance people [when we were young].
میں ایک سال میں بہت سارے برتن بناتا ہوں اور ان میں سے کچھ اچھے ہوتے ہیں، کچھ اوسط درجے کے ہوتے ہیں اور کچھ برے ہوتے ہیں۔ اگر وہ واقعی برے ہوں اور مجھے انہیں دیکھ کر شرمندگی ہو، تو میں انہیں پھینک دیتا ہوں، لیکن اگر وہ اوسط درجے کے ہیں اور اپنے مقصد کو پورا کرتے ہیں، جیسے کہ مکسنگ بول، سوپ بول، پلیٹ یا جو بھی ہو، تو میں انہیں بیچ دیتا ہوں۔ اور ان برتنوں کی فروخت سے ہونے والی آمدنی مجھے مزید برتن بنانے کا موقع دیتی ہے۔ اب جب کہ میں نے پڑھانا چھوڑ دیا ہے، تو یہ چیز اور بھی زیادہ اہم ہو گئی ہے، کیونکہ اب میرے پاس استاد والی تنخواہ کا سہارا نہیں ہے۔
I make a lot of pots in a year's time and some of them are good and some of them are mediocre and some of them are bad. If they're really bad and I'd be ashamed of them, I throw them out, but if they're mediocre and they'll serve the purpose for which they're designed, that is, a mixing bowl or a soup bowl or a plate or whatever, I sell them. And this income from the sale of these pots permits me to go on and make other pots. It's even more important now that I've quit teaching, because I do not have a teacher's salary to fall back on.
I make a lot of pots in a year's time and some of them are good and some of them are mediocre and some of them are bad. If they're really bad and I'd be ashamed of them, I throw them out, but if they're mediocre and they'll serve the purpose for which they're designed, that is, a mixing bowl or a soup bowl or a plate or whatever, I sell them. And this income from the sale of these pots permits me to go on and make other pots. It's even more important now that I've quit teaching, because I do not have a teacher's salary to fall back on.
فیلڈ میوزیم میں ان برتنوں کو دیکھ کر، الیکس [مک کینزی] اور میں نے الگ الگ بھی اور مشترکہ طور پر بھی یہ نتیجہ اخذ کیا کہ جو برتن ہمیں واقعی دلچسپ لگے، وہ وہ برتن تھے جو لوگوں نے اپنی روزمرہ زندگی میں استعمال کیے تھے، اور ہم نے سوچنا شروع کیا — یعنی چاہے وہ قدیم یونان کا معاملہ ہو، افریقہ کا، یورپ کا یا کہیں کا بھی، لوگوں کے گھروں میں استعمال ہونے والے برتن ہی وہ چیز تھے جنہوں نے ہمیں پرجوش کیا۔
In looking at these pots at the Field Museum, Alix [MacKenzie] and I both came to a conclusion individually but also collectively that the pots that really interested us were the pots that people had used in their everyday life, and we began to think - I mean, whether it was ancient Greece or Africa or Europe or wherever, the pots that people had used in their homes were the ones that excited us.
In looking at these pots at the Field Museum, Alix [MacKenzie] and I both came to a conclusion individually but also collectively that the pots that really interested us were the pots that people had used in their everyday life, and we began to think - I mean, whether it was ancient Greece or Africa or Europe or wherever, the pots that people had used in their homes were the ones that excited us.
یہ نئے خیالات کو آزمانے کی صلاحیت ہے، لیکن ذرا ذرا سی تبدیلیوں کے ساتھ، اور پھر اس کے نتائج کو دیکھنا۔ اکثر آپ اپنے کام سے اتنے پرجوش ہو جاتے ہیں کہ آپ سوچتے ہیں، "اوہ واہ، یہ تو کمال ہو گیا!" اور جب آپ ایک ہفتے بعد اسے دیکھتے ہیں، تو آپ کو احساس ہوتا ہے کہ آپ تخلیق کے عمل سے پرجوش ہوئے تھے، لیکن جب آپ اسے ٹھنڈے دل و دماغ سے دیکھتے ہیں، تو جو آپ نے بنایا ہے وہ اتنا شاندار نہیں ہوتا۔ تو یہ میرے لیے ایک قیمتی سبق ہے۔
Here is this ability to explore ideas, but with minute changes, and then look at the results. Often you get so excited about what you're doing that you think, "Oh, wow, this is just great." And you look at it a week later and you realize you'd been excited by the act of creation, but what you've created is not really exciting when you look at it in cold blood. And so that, to me, is a valuable lesson also.
Here is this ability to explore ideas, but with minute changes, and then look at the results. Often you get so excited about what you're doing that you think, "Oh, wow, this is just great." And you look at it a week later and you realize you'd been excited by the act of creation, but what you've created is not really exciting when you look at it in cold blood. And so that, to me, is a valuable lesson also.
یاد رکھییں، یہ 1940 کی دہائی کی بات ہے، اور یہ مجسمہ سازی ایسی تھی جو شاید — میرے معاملے میں شائد یورپی اثرات سے نکلی تھی، جیسے [الлександр] آرچیپینکو اور اس قسم کی دوسری چیزیں، اور کچھ حد تک [जैक्स] لپشٹز سے بھی، اور میں ان چیزوں سے متاثر تھا اور ایسی کوشش کرتا تھا جو ان کے انداز کی نقل ہو۔
Remember, this is back in the 1940s, and it was sculpture which probably - in my instance probably came out of the European influence, [Alexander] Archipenko and things of that sort, [Jacques] Lipchitz to a certain extent, and I was influenced by those things and attempted to do work that emulated their style.
Remember, this is back in the 1940s, and it was sculpture which probably - in my instance probably came out of the European influence, [Alexander] Archipenko and things of that sort, [Jacques] Lipchitz to a certain extent, and I was influenced by those things and attempted to do work that emulated their style.
چنانچہ میں نے بہت جلد تمام سجاوٹ تقریباً بند کر دی۔ میں برتنوں کی سہ رخی (تھری ڈائمنشنل) شکل میں زیادہ دلچسپی رکھتا تھا، لیکن ان پر کی جانے والی سجاوٹ بالکل نہ ہونے کے برابر تھی۔
So I very quickly stopped almost all decoration. I was interested in the three-dimensional form of the pots, but my decoration was nonexistent.
So I very quickly stopped almost all decoration. I was interested in the three-dimensional form of the pots, but my decoration was nonexistent.
دوسری طرف، الیکس [مک کینزی] نے محسوس کیا کہ اس کی پینٹنگ برتنوں کی سجاوٹ میں زیادہ آسانی سے ڈھل سکتی ہے، اور وہ برتنوں کی شکل پر نقش و نگار کے فاصلے اور ان کی شدت کے ساتھ اس طرح کھیل سکتی تھی جیسے کہ میں نہیں کر سکتا تھا۔ اس لیے جب ہم نے اپنا کمھار خانہ (پاٹری) بنایا، تو میں اپنے برتنوں کی سجاوٹ سے بالکل ناخوش تھا۔
Alix [MacKenzie], on the other hand, found that her painting would translate much more readily into decoration, and she could play with the spacing and the intensity of imagery on the form in a way which I could not. So that when we established our pottery, I was most unhappy with my decoration.
Alix [MacKenzie], on the other hand, found that her painting would translate much more readily into decoration, and she could play with the spacing and the intensity of imagery on the form in a way which I could not. So that when we established our pottery, I was most unhappy with my decoration.
میرے خیال میں [الیکس مک کینزی کے ساتھ] ہماری بنیادی تحریک فیلڈ میوزیم آف نیچرل ہسٹری سے آئی تھی، کیونکہ وہاں ایسی چیزیں رکھی تھیں جن کا انتخاب آرٹ کی خوبی کی بنیاد پر نہیں بلکہ انسانیت کی بشریاتی تاریخ (اینتھروپولوجیکل ہسٹری) سے ان کے تعلق کی بنیاد پر کیا گیا تھا۔
Our main inspiration [with Alix MacKenzie], I think, came from the Field Museum of Natural History, because they had pieces which were selected not for art content but for their relationship to the anthropological history of mankind.
Our main inspiration [with Alix MacKenzie], I think, came from the Field Museum of Natural History, because they had pieces which were selected not for art content but for their relationship to the anthropological history of mankind.
آخر کار اگر میرے پاس کوئی ایسا برتن ہوتا جسے سجاوٹ کی ضرورت ہوتی، تو میں اسے الیکس [مک کینزی] کے حوالے کر دیتا اور کہتا، "کیا تم اس پر کچھ کر سکتی ہو؟" اور وہ اسے کچھ دیر دیکھتی اور پھر برش لے کر اس کی شکل کو سنوارنے اور اس میں نکھار پیدا کرنے کا کام شروع کر دیتی، اور یہ دیکھنا بہت شاندار ہوتا تھا۔ وہ برتن میں جان ڈال دیتی تھی، جبکہ اگر میں یہ کرتا تو وہ ایک تباہی بن جاتا۔
Finally if I had a pot that needed decoration, I would hand it to Alix [MacKenzie] and I would say, "Can you do something with this?" And she'd look at it for a while and then proceed with a brush to embellish the form and enhance the form, and it was wonderful. She could bring the pot to life, whereas if I did it, it was a disaster.
Finally if I had a pot that needed decoration, I would hand it to Alix [MacKenzie] and I would say, "Can you do something with this?" And she'd look at it for a while and then proceed with a brush to embellish the form and enhance the form, and it was wonderful. She could bring the pot to life, whereas if I did it, it was a disaster.
यह बात मैं अपने छात्रों और उस समय से हमारे बर्तन खरीदने वाले लोगों—दोनों को ही समझाने में सफल रहा हूँ; वे सभी यही कहते हैं कि इन बर्तनों को हमेशा अपने पास रखना, इनमें खाना खाना और अपने घरों में इनके सीधे संपर्क में रहना कितना अच्छा लगता है।
This is something which I think I have been able to communicate to both people I have taught and people that have purchased our work since that time, that they all say, it's so nice to have these pots with us all the time and to eat out of them and be in direct contact with them in our homes.
This is something which I think I have been able to communicate to both people I have taught and people that have purchased our work since that time, that they all say, it's so nice to have these pots with us all the time and to eat out of them and be in direct contact with them in our homes.
उस दो हफ्ते के अंत में, बर्नार्ड [लीच] ने हमसे पूछा कि क्या हम भट्टी की देखभाल करने में उनके साथ बैठना चाहेंगे, जो उनके पास बड़ी तेल से चलने वाली भट्टी थी। वे उस समय भी वह काम कर रहे थे जिसे हम भट्टी की रखवाली कहते हैं, और वे यह जानना चाहते थे कि क्या हम उनके साथ बैठकर बातें करते हुए इस रखवाली में उनका साथ देना चाहेंगे। इसलिए स्वाभाविक रूप से यह उनके साथ बात करने का हमारा आखिरी मौका था, इसलिए हमने हाँ कह दिया। हमें इस बात का बिल्कुल अंदाज़ा नहीं था कि बर्नार्ड की भट्टी की रखवाली रात के 1:00 बजे से सुबह 4:00 बजे तक होती है।
At the end of that two weeks Bernard [Leach] asked us if we would like to sit with him tending the kiln, the big oil-fired kiln that they had. He was still sitting what we call a kiln watch at that time, and he wondered if we would like to sit the watch with him and talk. So naturally this was our last opportunity to talk with him, so we said yes. We didn't realize Bernard's kiln watch was from 1:00 in the morning until 4:00 AM.
At the end of that two weeks Bernard [Leach] asked us if we would like to sit with him tending the kiln, the big oil-fired kiln that they had. He was still sitting what we call a kiln watch at that time, and he wondered if we would like to sit the watch with him and talk. So naturally this was our last opportunity to talk with him, so we said yes. We didn't realize Bernard's kiln watch was from 1:00 in the morning until 4:00 AM.
आर्ट इंस्टीट्यूट में मेरे जो दो शिक्षक थे जिनका मुझ पर सबसे ज्यादा प्रभाव पड़ा, वे थे कैथलीन ब्लैकशियर और रॉबर्ट वॉन न्यूमैन; कैथलीन ब्लैकशियर इसलिए क्योंकि वे डिज़ाइन नाम की एक कक्षा पढ़ाती थीं - मुझे ठीक से याद नहीं, डिज़ाइन से जुड़ा कोई विषय, और इस कक्षा में - जो हफ्ते में एक बार होती थी - हम किसी विषय, शब्द, प्रसंग, तकनीक या किसी भी चीज़ के इर्द-गिर्द अपना काम करते थे, और उसे तीन घंटे की चर्चा के लिए कक्षा में लाते थे। और कैथलीन हमारे काम को देखकर, हमें ऐसी तमाम चीज़ों की ओर मार्गदर्शन करने में सक्षम थीं जो शायद हम जो करने की कोशिश कर रहे थे उससे जुड़ी होती थीं, लेकिन उन्होंने कभी भी हमें यह बताने की कोशिश नहीं की कि हमें क्या करना है।
The two teachers that I had in the Art Institute who affected me the most were Kathleen Blackshear and Robert von Neumann; Kathleen Blackshear because she taught a class called design - I can't remember, design something, and in this class - it met once a week - we would do work centered around some theme, word or subject or technique or whatever, and bring it in for a three-hour discussion. And Kathleen was able, in watching and looking at our work, to direct us to all kinds of things which might relate to what we were trying to do, but she never attempted to tell us what to do.
The two teachers that I had in the Art Institute who affected me the most were Kathleen Blackshear and Robert von Neumann; Kathleen Blackshear because she taught a class called design - I can't remember, design something, and in this class - it met once a week - we would do work centered around some theme, word or subject or technique or whatever, and bring it in for a three-hour discussion. And Kathleen was able, in watching and looking at our work, to direct us to all kinds of things which might relate to what we were trying to do, but she never attempted to tell us what to do.
मैंने सोचा, अरे, मैं तो एक चित्रकार बनूँगा। और आखिरकार मेरा परिवार शिकागो के पास रहने लगा, और जब मैंने हाई स्कूल की पढ़ाई पूरी की, तो मैं शिकागो आर्ट इंस्टीट्यूट चला गया, और वहीं मैंने सोचा कि, अच्छा, अब मैं एक चित्रकार बनूँगा।
I thought, oh, I'm going to be a painter. And eventually my family had moved near Chicago, and when I graduated from high school, I went to the Chicago Art Institute, and it was there that I thought, well, now I'm going to be a painter.
I thought, oh, I'm going to be a painter. And eventually my family had moved near Chicago, and when I graduated from high school, I went to the Chicago Art Institute, and it was there that I thought, well, now I'm going to be a painter.
बेहतर प्रशिक्षण की तलाश में हमने इंग्लैंड और बर्नार्ड लीच का रुख किया। हमें लगा कि चूंकि हमने उनकी किताब पर बहुत गहराई से प्रतिक्रिया दी थी, इसलिए यह उसी तरह का प्रशिक्षण होगा जो हम पाना चाहते थे। हमने पैसे बचाए, गर्मियों के दौरान यूरोप गए, और हमारा पहला पड़ाव इंग्लैंड जाना, लीच पॉटरी जाना और लीच से यह पूछना था कि क्या वे हमें अपने यहाँ प्रशिक्षु (apprentices) के रूप में रख सकते हैं।
In searching for further training we turned to England and Bernard Leach. We thought since we had responded to his book so strongly that this would be the sort of training that we would like to have. We saved money, during the summer went to Europe, and the first stop was to go to England, visit the Leach Pottery and ask Leach if he would take us on as apprentices.
In searching for further training we turned to England and Bernard Leach. We thought since we had responded to his book so strongly that this would be the sort of training that we would like to have. We saved money, during the summer went to Europe, and the first stop was to go to England, visit the Leach Pottery and ask Leach if he would take us on as apprentices.
मैं ऐसी चीज़ें बनाने की कोशिश कर रहा हूँ जो मेरी बनाई हुई सबसे बेहतरीन चीज़ें हों और जो लोगों के घरों में आसानी से फिट हो सकें। और इस लिहाज से, चाक पर काम करना आर्थिक रूप से इकलौता ऐसा रास्ता है जिसके बारे में मैं जानता हूँ, क्योंकि जैसा कि लीच ने कहा था, कोई भी व्यक्ति एक दिन में 50 बर्तन बना सकता है। आप एक दिन में 100 बर्तन बना सकते हैं। एक वाकई अच्छा कुम्हार एक दिन में 400 बर्तन बना सकता है।
I'm striving to make things which are the most exciting things I can make that will fit in people's homes. And in that respect, working on the wheel is economically about the only answer I know, because one can, as Leach said, make 50 pots in a day. You can make 100 pots in a day. A really good potter can make 400 pots in a day.
I'm striving to make things which are the most exciting things I can make that will fit in people's homes. And in that respect, working on the wheel is economically about the only answer I know, because one can, as Leach said, make 50 pots in a day. You can make 100 pots in a day. A really good potter can make 400 pots in a day.
हम [बर्नार्ड लीच के स्टूडियो में] पहुँचने से लगभग 10 या 12 साल पहले डिज़ाइन किए गए इन बर्तनों को बनाने के लिए बिल्कुल सटीक मॉडल, आयामों और मिट्टी के वजन के हिसाब से काम कर रहे थे। और हम, जिन्हें आप शायद युवा और घमंडी अमेरिकी कहेंगे, सोचते थे कि पॉटरी के रोजमर्रा के काम में हमें किसी न किसी तरह खुद को थोड़ा और अभिव्यक्त करने का मौका मिलना चाहिए।
We were working from very exact models and dimensions and weights of clay to make these pots which had been designed some 10 or 12 years previous to our arriving [at Bernard's Leach studio]. And we, being, I guess you would say young, arrogant Americans, thought that we ought to be able to somehow express ourselves a little bit more in the daily work of the pottery.
We were working from very exact models and dimensions and weights of clay to make these pots which had been designed some 10 or 12 years previous to our arriving [at Bernard's Leach studio]. And we, being, I guess you would say young, arrogant Americans, thought that we ought to be able to somehow express ourselves a little bit more in the daily work of the pottery.
आखिरकार हम उस स्थिति में भी पहुँच गए जहाँ हम [बर्नार्ड लीच] की बात का विरोध कर सकते थे। मेरा मतलब है, जब हम पहली बार वहाँ गए थे, अरे भाई, वह एक ऐसे इंसान थे जिन्होंने एक किताब लिखी थी। एक तरह से वे भगवान थे, और पहले कुछ हफ़्तों तक हम उन्हें 'मिस्टर लीच' कहकर बुलाते थे।
Eventually we even got to the point where we could disagree with [Bernard Leach]. I mean, when we first went there, gee, I mean, this was a man who had written a book. He was, in a sense, God, and we for the first couple of weeks called him Mr. Leach.
Eventually we even got to the point where we could disagree with [Bernard Leach]. I mean, when we first went there, gee, I mean, this was a man who had written a book. He was, in a sense, God, and we for the first couple of weeks called him Mr. Leach.
मुझे लगा था कि मैं पॉटरी पर सजावट के रूप में अपने पेंटिंग के विचारों का उपयोग कर पाऊँगा, लेकिन मेरी पेंटिंग पॉटरी पर सजावट के रूप में ढल नहीं पाई। मुझे लगा था कि ऐसा होगा, और वास्तव में मैंने स्कूल में रहते हुए ही अपनी एक पेंटिंग वाली एक प्लेट बनाई भी थी, और वह बिल्कुल वैसी ही थी—वह पेंटिंग वाली एक प्लेट थी। वह कोई सजाई हुई प्लेट नहीं थी; वह सिर्फ एक त्रि-आयामी (three-dimensional) सेमिक फॉर्म के ऊपर चिपकाई गई एक पेंटिंग भर थी।
I thought I was going to be able to use my painting ideas as decoration on pottery, but my painting did not translate into decoration on pottery. I thought it was going to, and in fact I made, while still in school, a plate with one of my paintings on it, and that's exactly what it was, it was a plate with a painting on it. It was not a decorated plate; it was just a painting superimposed over a three-dimensional ceramic form.
I thought I was going to be able to use my painting ideas as decoration on pottery, but my painting did not translate into decoration on pottery. I thought it was going to, and in fact I made, while still in school, a plate with one of my paintings on it, and that's exactly what it was, it was a plate with a painting on it. It was not a decorated plate; it was just a painting superimposed over a three-dimensional ceramic form.
दिलचस्प बात यह थी कि हमने कभी भी पॉटरी (बर्तन बनाने की कला) के बारे में बात नहीं की। बर्नार्ड [लीच] सामाजिक मुद्दों पर बात करते थे; वे दुनिया की राजनीतिक स्थिति के बारे में बात करते थे, अर्थव्यवस्था पर चर्चा करते थे, और हर तरह की चीज़ों पर बात करते थे।
The interesting thing was we never talked about pottery. Bernard [Leach] talked about social issues; he talked about the world political situation, he talked about the economy, he talked about all kinds of things.
The interesting thing was we never talked about pottery. Bernard [Leach] talked about social issues; he talked about the world political situation, he talked about the economy, he talked about all kinds of things.
बर्नार्ड [लीच] के दोस्त मिलने आते थे, और जब हम लंदन गए, तो हमें लूसी री, हंस कोपर, रिचर्ड बाट्रम जैसे लोगों से मिलने का परिचय (इंट्रोडक्शन) मिला। ये सभी लोग, यूँ कहिए कि, लीच के साथ दोस्ती की वजह से ही हमसे जुड़ पाए। इसके अलावा कुम्हारों का एक समूह भी था - उसका नाम क्या था? मुझे लगता है कि उसका नाम कॉर्निश पॉटर्स सोसाइटी था, पर मुझे इस बारे में पक्का नहीं पता। खैर, उनकी बैठकें होती थीं और हम लीच के साथ इन बैठकों में जाते थे और अन्य कुम्हारों से मिलते थे, और वहाँ ऐसे कार्यक्रम होते थे जहाँ वे पॉटरी पर चर्चा करते थे और लोग अपने विचार एक-दूसरे से साझा करते थे।
Friends of Bernard's [Leach] came to visit, and when we went to London, we were given introductions to people like Lucie Rie, Hans Coper, Richard Batram. All these people were, let's say, made available to us by a friendship with Leach. In addition there was a potter's group - what was it called? I think it was called the Cornish Potters Society, but I'm not sure of that. Anyway, they had meetings and we would go with Leach to these meetings and meet other potters, and they would have programs where they would discuss pottery and people would interchange ideas.
Friends of Bernard's [Leach] came to visit, and when we went to London, we were given introductions to people like Lucie Rie, Hans Coper, Richard Batram. All these people were, let's say, made available to us by a friendship with Leach. In addition there was a potter's group - what was it called? I think it was called the Cornish Potters Society, but I'm not sure of that. Anyway, they had meetings and we would go with Leach to these meetings and meet other potters, and they would have programs where they would discuss pottery and people would interchange ideas.