The most obvious cause for this feel­ing of in­com­ple­te­ness is that any mere visual per­cept­ion of a ceramic piece is tho­rough­ly inadequate. Standing and looking at a ceramic work is analogous to hearing a description of a paint­ing; an art of poetry in itself, evidently, but still essentially unrelated with any painterly sensation. Any ceramic work must of course be visual as well, and tiles and enamel paint­ing are pre­emi­nent­ly visual. But when admiring tiles, who can restrain from touching it? And isn’t enamel paint­ing precisely made to be touched while looking?