The use of repaired material in the arts has a long history of approval. We discussed before the use of pieces with repairs as acceptable under conditions of use. If it functions in a context where its age and faults are recognized as relating to the v
alue or provenance it is not only acceptable but revered to an extent. The first thing to consider though has to be the value in its original state, often the artist/potter.
Recently we have viewed pots as "manufactured" and not personal works of art , so the value has not been held the same as it was when the potter artist and his work was usually known, as was very likely in the Japanese past . I think in our bons
ai community this recognition of the potter and his art is growing nicely and recognition of value in that respect is beginning to be relevant. I hope it is, but still the value of the work has its individual responses as to its quality or value.

I don't think people use repaired pots from any lack of respect for the exhibit or from lack of ability to replace it always - but use one because it has a value to them that may not be apparent to others. If it is cleaned, polished and appropriate
for the tree I wish we could realize a value held in the pot by the owner and accept it. However, it seems to be the nature of our exhibits for values to be set in another way, which I can only determine to be a respect for the exhibit. We are a lit
tle short of the value estimates as they were once known.
Lynn

Lynn Boyd, Oregon, USA

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