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MINGEIKAN EVENT ARCHIVE 2006
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October 3 to December 20, 2006
-- The 70th Anniversary Celebration --
YANAGI SOETSU & KOREAN FOLK ART
 
Yanagi Soetsu, the founder of the Japan Mingeikan, was enraptured by the beauty of Korean folk art. During his lifetime, Yanagi was among the first to introduce the "beauty" of Korean artistic traditions to the world via exhibitions and books. Last year (2005), the Seoul Museum of Art in Korea held a large exhibition of Korean mingei (folk craft) artwork, helping to spark worldwide interest in Korea's rich artistic traditions. The winter exhibition at the Japan Mingeikan will feature about 100 pieces, many collected by Yanagi himself.
 Looking at a
Korean Painting
Essay by Yanagi Soetsu, Mingei, Volume 59, 9/1/1957, translated by Utsumi Teiko for the Mingeikan's Autumn Exhibition 2006
There is a Korean painting in front of me. The source of the painting's beauty cannot be explained by common sense.
This painting originally was one of a group of eight folding screens, which came to the market in very poor condition. I bought the one which attracted me the most and had it re-mounted on a scroll. The painting is entitled "Lotus and Crab." The themes of the eight paintings are all fish and flowers.
This folding screen was coarsely made, not carefully treated, and therefore considerably soiled. The colors have also faded. The work was probably done no longer ago than the mid-Chosen Dynasty. There is no signature, so it was painted by an unknown artisan. It may have been intended for sale in a store, or was the work of a traveling artisan.
The background of the painting is unimpressive, but there is something beautiful behind it. Why does it attract me? As I explained, it is not the quality of celebrated character. It does not have power, no sureness, no bright technique. Rather, it belongs to an unskilled group.
Within these negative characteristics, however, the painting is quietly, peacefully, and moderately drawn. Contradictions stand out in its composition. As previously mentioned, the theme is fish. Surprisingly, however, there is no distinction between seawater fish and fresh water fish. They swim together. Big or small fish, slender or fat, they are drawn with a free hand. A rock is often drawn in the water. From the rock, one may see blooming flowers or even a tree growing. There is no distinction as to whether they are above or beneath the water.
The concept of modern or not modern is immaterial. Comments by art critiques are not needed. The painting asserts irrationality and is drawn beyond the border of duality. This, however, is the secret of this painting's success . It was not drawn with the idea of duality included. This kind of painting is washed away from the sin of duality. Certainly, the painting does not intend to come closer to the border. As such, it does not seek anything. Such a painting is born, not contrived. Herein lies the best merits of this painting.
If one accepts the above premise, nothing more is required to appreciate the work. A genius is not needed. A question of wisdom is not necessary. Skilled or unskilled is immaterial. This painting tells us that there is a different world beyond duality. The expectation in contemporary paintings that the drawing makes common sense is powerless here, and unnecessary.
What a great thing that an ordinary human being can create such a beautiful work! No genius was required, no established rules to adhere to, no necessity to add
something new. This painting teaches us that such complications are not the only road.
(End essay by Yanagi Soetsu, Mingei, Vol. 59, 9/1/1957, translated by Utsumi Teiko for the Mingeikan's Autumn Exhibition 2006)
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July 4 to September 24, 2006
The Great Masters of the Folkcraft Movement
- The 70th Anniversary Celebration -
Work by the Great Masters
Yanagi Soetsu, inspirator of the philosophy of Mingei and the founder of the Nihon Mingeikan, had many great artist-friends who believed in, lived by, and propagated Yanagi's ideas on beauty. Such friends were Tomimoto Kenkichi (potter), Bernard Leach (potter), Kawai Kanjiro (potter), Hamada Shoji (potter), Serizawa Keisuke (textile dyer), and Munakata Shiko (woodblock printer). All were designated as Japan's national living treasures by learning from tradition and developing their own styles based on Yanagi's idea of ethical honesty toward life and beauty in everyday life. In celebration of the 70th anniversary of the Mingeikan, more than 200 works of these great masters will be on display.
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April 4 to June 25, 2006
70th Anniversary of the Japan Folk Crafts Museum
Special Exhibition of the Yanagi Soetsu Collection
Eight Views of Oumi, Folding Screen, Later Half of Edo Period
In commemoration of the 70th anniversary of the Japan Folk Crafts Museum, a special exhibition of approximately 400 treasures from the museum's collection with be on display. Yanagi Soetsu, the founder of the museum, collected about 17,000 pieces of art over a half century. This special exhibition focuses on the most exemplary handicrafts from Yanagi's collection, ranging from pottery and painting to textiles, dyed cloth, and woodwork. The exhibit will also highlight the calligraphy and writings of Yanagi, the beautiful bindings of Serizawa Keisuke, and the handicrafts of other beloved folk-craft artists. Exhibit pieces were selected that best reflect the Mingei philosophy of founder Yanagi Soetsu.
PHOTO AT RIGHT:
Wood Statue by
Mokujiki Shonin
(1718-1810)
Edo Period, 1801 AD
H = 75.5 cm W = 26 cm
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Jan. 7 to March 26, 2006
Living National Treasures Cherished by Mingei Lovers
Approximately 150 Mingei items will be on display, with most pieces made in the Showa Era and Heisei Era. Pieces were selected that best reflect the Mingei philosophy of founder Yanagi Soetsu, with a focus on the masterpieces of Toshiko Jiro, Tatsuzo Shimaoka, Ryukyu wares, Taira (basho cloth), Hatsuko textiles, and the artistic legacy of Japan's Living National Treasures.
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