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     Looking first at theme and variation, we find a square form divided along the diagonal into two triangular shapes. Each triangle, as if a cell, carries its own set of images. First, the circle/dot image: We see it repeated in variations of large and small, alone and grouped, solid and open, dark and light, simple (as dots) and complex (as wheels), in a grid or strung, but always, persistently round. Then the linear expression: long or short, single or double, continuous or interrupted, crossing or parallel, but always the same width and speed. Finally, the stratified divisions of the square by use of a green glazed edge, a white clay boundary, a string of balls and lastly, a triple repetition of an arc—all are imaginative restatements of just one idea.

     As to contrast and comparison, we should note the rampant circle/dot motif working against the square form and triangular shape. Of those triangles, notice that the lower one is symmetrically composed with an axis running from the corner, straight up. That symmetry, plus the greater contrast of white to iron painting and the depth of green glaze, give this half the greater visual weight of the two. But the upper triangle cannot be divided along any axis. It is asymmetrically arranged and its paler images float on a neutral ground. This gives the upper half the greater psychological weight. It is fully stated but less knowable. And the star shape, drawn in double lines like the wheels below, possibly holds the ultimate enigma—within sight but forever out of reach.

     Maske observes a final virtue about this piece—when used in food service, the decoration reveals itself in a measured sequence.  If the tea ceremony is about symbols and complex, sophisticated interactions, then this plate satisfies nicely.

     Another example is a deeper dish with a bridge handle (see page 63). The theme of the form is the arc, expressed as three sides of the dish and the handle, the handle being the same width as the depth of the dish. It bridges the dish and attaches itself to the one straight side of the form. To appreciate this solution, try to imagine springing this handle between any other two points.

     Four variations of straight lines can be found here: the white engobe, the vertical rivulets of green glaze, the incised line down the spine of the handle and a few minor black lines that complete this harmonic chord. Then note the round white persimmon decoration, echoed by the clay balls on the handle; a tactile restatement of the graphic display. See it. Feel it. Very smart.

     For contrast, we see a symmetrical form divided down the middle by the axis of the handle. But in coloration and pattern, the form is divided asymmetrically by the diagonal of the green glaze field. This piece has a particularly beautiful interface of

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