Platter 18th century

Editor: Here we have an 18th-century "Platter," made of ceramic, and currently held at the Metropolitan Museum of Art. It’s simple but it possesses a muted kind of beauty. What strikes you about the piece? Curator: Immediately, the rigorous circularity arrests the eye. Notice how the concentric rings—the lip, the well, the base—each contribute to a self-contained system. It's an object asserting its own formal completeness. How does the subdued palette inform your perception? Editor: It definitely contributes to the overall sense of calm. There's a subtle gradience of gray, almost like the surface of the moon. Does the artist's technique give you a particular impression? Curator: The subtle imperfections in the ceramic, the faint surface abrasions, belie the handmade nature, refusing any sense of cold, industrial perfection. It speaks to a philosophy that embraces the trace of the hand, almost a wabi-sabi aesthetic predating its popularization in the West. Is this surface treatment intentional? Editor: Possibly. Even if accidental, the wear enhances the overall experience, imbuing the platter with history. It has a presence far beyond its functionality. Curator: Precisely. The intentionality becomes almost secondary to the effect. The dialogue between form and imperfection is its defining characteristic, offering an enduring commentary on function versus artistry. Editor: I see that now; thank you for pointing it out. It is more than just a platter; it's an exploration of form itself. Curator: Indeed, a successful investigation in my view, rewarding close inspection. I appreciate your fresh interpretation of this beautiful object.