98 Okinasan
99 Origami
100 Uzura-guruma
101 Take-tombo
102 Tenjin-sama
103 Mi
104 Undo-ningyo
105 Tobe-kaeru
106 Koi-nobori
107 Miharu-goma
108 Usagi-guruma
109 lnari-sama
110 Kibigara-nezumi
111 Tatsu-guruma
112 lnoshishi-dorei
113 Sashiko
114 Tanekashi-sama
115 Hongyo-yaki
116 Washi
PREFACE
The “arts of the people” of Japan are a living, growing tradition that is a continuum of change over hundreds and even thousands of years in the case of pottery making. They are the distillation of a culture reflecting all the rich variations of the mountainous islands of Japan.
So complex is the rich variety of simple and abundant natural materials imaginatively used. Wood, bamboo, paper, straw, shell, lacquers, clay, metal, stone and other materials are transformed into delighfully charming objects of daily use. Often of a beauty unsurpassed in their quiet humility, they are useful and satisfying to the human spirit.
Mingei is a special transcultural word meaning “arts of the people.” Combining the Japanese words for people (min) and art (gei), it was coined fifty years ago by the late Dr. Yanagi Soetsu, revered scholar of Japan. His keen eye observed that many articles made by unknown craftsmen of pre-industrialized times were of a beauty seldom equaled by artists of modern societies. His questioning of why this might be revealed insight regarding the nature of beauty of things which are integrally related to life and born of a state of mind not attached to a conscious idea of beauty or ugliness. Rather, it is a unified expression with no division of head, heart and hand.
In his desire to communicate this profound insight, he, together with Hamada Shoji and Kawai Kanjiro, founded the Mingei Association and the first folk art museum in Japan, The Mingeikan in Tokyo.
Many of the contemporary craftsmen whom Yanagi nurtured were later designated as Living National Treasures of Japan. Their work possesses qualities of naturalness and beauty akin to that of the unknown craftsmen of prior days.
Thus the Japanese heritage of “arts of the people” was not lost to present and future generations as is happening throughout the industrialized world. Understanding of the world significance and influence of Mingei has been conveyed through the writings of both the late English potter Bernard Leach in “The Unknown Craftsman” and the late Hamada-Sensei.
In this book, MINGEI — Japan’s Enduring Folk Arts, we are introduced and reacquainted with “arts of the people” through the eyes of Amaury St-Gilles. He is a long time resident of Japan with the perspective of a sensitive and appreciative person who has come from another culture.
Dr. Martha Longenecker
Founding President & Director
Mingei International
Museum of World Folk Art
La Jolla, California
INTRODUCTION
Folk art around the world has long captured my imagination. Whenever and wherever I visit another culture, I find it is folk art and handmade crafts that fill my suitcases to overflowing coming home. There’s something special about folk art — an almost indescribable aura that makes them appear so unique. Perhaps it is merely their lack of pretensions, but I think also their attraction has to do with the obvious care with which they have been crafted.
I cannot go further without taking a few lines to express my sincere appreciation to Mr. Okada Hiromu, President of Bingoya Craft Shop and to Mr. Shiga Naokuni, President of Takumi Craft Shop. Both of these learned gentlemen unstintingly gave their time and knowledge in helping me gather information for the initial articles. Without their expert help, the essays would have been nearly impossible to compile.
And once the series had ended it was the enthusiastic support of Ms. Koko Hashim of NYC and Mr. Kai Frost of John Wanamaker Philadelphia who saw the potential of making the collection of completed essays into a book, and assembling an exhibition of folk art based on these items.
By no means should this selection of 116 items be construed as the only remaining folk art in Japan. Far from it, as there are literally hundreds from which a choice had to be made. I selected initially on the basis of location, by picking one per prefecture moving from Hokkaido south to Okinawa. Then given full rein I skipped all over the islands picking up functional crafts, toys and the more misunderstood and pervasive ENGI (literally luck bringers). These often double as toys after their effectiveness has worn out and are given to children so whilst playing they (engi) can effect their protective powers.
Unfortunately some of the items I originally wrote about have already ceased to be. The two-part production of Hatta-yaki vessels are such an example, as are the “salt-spraying whale carts” of Nagasaki-ken. And others are waning as their markets narrow, and occasionally disappear almost before your very eyes. This trend has been somewhat reversed by a renewed interest in collecting mingei spawned by regular, impressive colour layouts in popular, leisure magazines catering to the travelling middle-class. A tourism orientation to be sure, but better than none as a market although crass commercialism of some items has done them in from that end of the scale. The biggest problem facing the makers of these unique items is teaching the craftsmanship needed for continued production to a ready and willing apprentice or relative. Many mingei have been passed from generation to generation for centuries, but the lure of a better life at better pay is creating havoc with this system.
I tried to compile this book to be as readable and useful as possible. Each item is illustrated either with a pen drawing or in a colour photograph. Most appear directly opposite written information about them, but colour printing costs forced me to gather photos together in one section. Each photograph is identified with its name and chapter number. Some items have, in addition to their illustrations, a colour plate showing special production methods, manner of use or even the way they are typically sold as is the case of Daruma. In the few instances I gave Japanese names, I listed proper family names first. And I have given the reader many Japanese words in the texts — most explained immediately and all others explained in a combined Index/Glossary at the back of the book. The locator map which directly follows this introduction is to give you some idea of the geographical spread of items selected. Prefectures are titled and chapter numbers relative to each are listed there. A guide to the colour closeups used on the cover is given with photo credits on page 260.
Meant to be compact, diverse and informative at the same time, I hope readers of MINGEI, Japan’s Enduring Folk Arts will enjoy journeying through this encapsuled world and perhaps