If you go to the Museum of Fine Art in Boston, take a stroll down the hallway to the Asian exhibit. On your left, in a long display case, you will find a small Chinese cup of the mid seventeenth century. It’s not very big - perhaps 8cm across and 3cm tall, and it would be easy to miss. But oh, how beautiful it is!

17th century Chinese porcelain cup with plum tree design
It is in a classic form of a footed bowl, and the foot is exactly the right size and shape to lift it off its platform and display its shadows. It’s very hard to get just the right proportion in a footed shape: being off by a millimeter can make the bowl look awkward or dumpy, or just stick it to the floor.
The walls of the cup form an ogee pattern, with the lip folding out like a flower opening to the sun. I know from experience how hard it is to get the lip right in this shape. The curve of the lip has to match the bottom curve of the bowl, but they are not the same curve, and each has to flow seamlessly into the wall itself. Here is a picture of the lip.

The perfect form of the lip, wall, and base of the cup.
The walls are perhaps a half millimeter in thickness, and you can indeed see the light through them. They are perfectly, uniformly white. The shape of the interior pulls your eye from the delicate lip down the smooth, sensual curve of the wall to the perfect floor of the bowl, all in a perfect, unbroken curve.
And if you let your eye linger for a few minutes, you will see the ghostly image of a plum tree emerge, white on white and so delicate that you might be dreaming it. Other cups are decorated with pictures of trees, but this one has captured its soul in the porcelain.
If I could have a wish, I would ask for a time machine to take me back to meet the man who made this wholly remarkable thing. I just want to watch him at work, chat with him a little, and see what sort of man it takes to produce something this perfect.
I’m a wood turner, and I know how agonizingly difficult it is to get the lines of this sort of vessel right, when there is no decoration and all of the beauty lies in the unbroken curve. To think that he achieved this from a lump of clay, then had to glaze it and risk firing it to red heat, then know the exact moment to take it from the kiln. For a man who can do this, the appellation of “genius” is entirely deserved.
You may think that I’m exaggerating my praise, but I tell you in all earnestness that this is the most beautiful object in the world. If you doubt me, take the trip to the Museum of Fine Art and find yourself paralyzed with astonishment, as I was.