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Works of the Artist and Mingei
By Yanagi Soetsu, 1961
Visitors who enjoy works by Kawai Kanjiro and Hamada Shoji at the Mingeikan often ask me with suspicion "their works cannot be Mingei, can they?" One room of the Mingeikan is always dedicated to works by individual artists, thus putting the interpretation of many visitors into confusion. There naturally is justice to this perplexity because works of mingei created by the artisan or craftsman contrast with works by the artist in many ways.
The former is utilitarian, while the latter is usually made for sole appreciation. The former is made in quantity, but the latter is a rarity, therefore the former is inexpensive in comparison to the inevitably expensive latter work. Moreover, the former is more dependent on common tradition, whereas the latter spurs from individual creativity. Therefore, both works differ drastically in the consciousness of creation. Such contrasting distinctions are noticed by everyone, and are thus often interpreted as conflicting contradiction.
Yet, how true are such doubts or views? Man has the tendency to classify things, resulting in stark distinctions dividing almost everything. Differentiation is inevitable if the basis to understanding is classification. But why do we not practice judging without distinguishing differences in contrast to habitually discerning? Works by the artist and works born from Mingei are obviously polar at first sight. However, one should be cautious and take heed to at least the following two issues:
First of all, the characteristic of our Mingeikan artists circle such as Kawai, Hamada, Serizawa, and others we hold great respect for, have at their basis of creation, the highest reverence toward the works of Mingei. They recognize that their 心の場の到らぬこと is what nurtures the creation of their works. It is this recognition and position in itself that differentiates the nature of these artists from others. Mingei artists are not irrevelant to individual artists. Contrarily, they are always humble, wishing that such beauty would rub off on them. Unfortunately, most individual artists try to follow the footsteps of famous predecessors. It is opposite to the path Kawai and Hamada pursue, for they delve deep into the origins of the amazing wonders of unsigned works for their own creations. Therefore, had there not been any understanding and affection to works of Mingei, the outstanding creations of such artists would never have been possible. All of their works are, so to speak, the receipts or testimonials of gratitude. Once this process is acknowledged, it can be considered even unnatural to clearly divide works of Mingei with that of Kawai, Hamada and others, as in contradicting paths to beauty. Works of the artist and that of Mingei are of course not the same, but at the same time are realistically not in contrasting arenas. Especially in the spiritual home where the creations are nurtured for creation, I feel that both paths are coming closer to each other.
Secondly, one should gain insight to the following: we have always kept a keen eye on the beauty of Mingei. Our artist friends, although in pursuit of beauty by way of the individual artist, have traced the paths of Mingei by following the spirit and skill of the anonymous. Artists who have personally experienced and perceived what items are beautiful, can no longer neglect the necessity to continue attempts to get closer to that realm of beauty. Yet it must be remembered that the way of the individual artist is inevitably different to that of the artisan or craftsman. For that reason, it is natural that there result all kinds of differences. It is easier to understand that one has followed the path of the non-individual, Tariki, whereas the other followed the path of the individual, Jiriki. However, this division tends to highlight the disparity between the two paths to beauty. Yet, are these two paths really different? It is like climbing a mountain where one party takes the right route up and the other takes the left. Although the trails climb from the left and right, the gradual ascent finally reaches the top peak, the same high point in which the paths meet. It is just like the learned, important priest and the uneducated pilgrim (Myokonin) -- although they follow different paths, in the realm of belief, are not they the same? Therefore, if the beauty of Mingei and that of the individual artist regard each other with consideration, at a certain point they will bond together. I truly would be very grateful if that really happens, for that is the way it should be. Therefore, to make a clear distinction between the two paths as completely different genres, is neither correct nor a profound way of thinking.
Considering such sincere wishes of Kawai and Hamada, they have the desire to create in a free world beyond the constraints of oneself. It is almost unheard of for artists not to sign their works, but our circle of artists do not. Why don't they sign their works?
There are a variety of reasons for this, but the most important purpose is to fulfill their yearn for the continuous flow of freedom of creativity. In order to do so, they put all their hearts into the state of unsigned beauty, and pray to be blessed with works that are naturally "born." This also is proof of their genuinely humble attitude and respect toward unsigned Mingei works. In this sense, even if the paths of the artist and Mingei seem different, it is their wish if possible, to return to the basic heart and mind, and leave all creations up to the natural state of being born. It is their belief that this very attitude shows us the most correct way of art itself.
For the artist not to sign his work might seem to be the denial of the individual artist. One person went as far as to insist and reprimand that such a deed represents the artist's evasion of responsibility for his own work, an irresponsible work ethic. Unfortunately, such criticism comes from a totally shallow approach in understanding.
The effect of an artist not signing his own work is in reality, not evasion, but the undertaking of the heaviest responsibility. In other words, is it not the responsibility of the artist to create the utmost ethical and correct work? The point in which the Mingeikan circle of artists differ from other artists is that they always reflect on how small and imperfect they are and understand how little of the burden of responsibility the individual can carry. Is it not appropriat, that behind all creations lie a larger figure in charge?
I believe that the artist's approach in not signing his work demonstrates the artist's genuine understanding that he himself relies on a much larger power in creating than himself. Moreover, these artists have repeatedly seen the flaws within signed works, and do not wish to follow the treacherous (insolent) way of art with signatures. It is this attitude itself that narrows the gap between the way of the individual artist and the way of Mingei. Thus explained, one can recognize that it is extremely superficial to clearly contrast works by the individual artist and that of Mingei.
Concerning the future, the genre of Mingei is fragile against the social tide of change. Therefore it is vital, for the preservation and support of Mingei, to hold deep respect for the craftsman and artisan. Moreover, it is important for artists with an excellent sense of beauty to have a cooperative system to work with craftsmen and artisans. Craftsmen and artisans would surely aspire toward cooperation with artists as well. If asked who could and should support craftsmen and artisans, the answer would be the individual artists that hold great respect toward Mingei. Financial support is unmistakably a necessity, but what is more important is the individual that can understand and show what is correct beauty and how to technically achieve such beauty. The person with such qualifications is the individual artist that holds deep respect for and is humbled by Mingei. Unless there is such cooperation, quality in the works of the craftsman and artisan will just continue to slip. We have repeatedly seen the bitter drop of traditional craftsmen. For that reason, in founding the Mingeikan, we especially dedicated one room for the individual artist; first, because of the outstanding beauty of their works, second, because their works do not contradict with works of Mingei very much. Rather, their works harmonize and associate with Mingei, and show us a way worthy of pursuing. Thus said, we have never displayed any individual works that contradict or oppose Mingei. We strive to show individual works which might inspire and guide the craftsman and artisan for the future.
One time, a person asked me "why do the Kurashiuki and Tottori Mingeikans hardly ever show works by individual artists?" The two museums perhaps prefer to emphasize the beauty of Mingei. At a time when the beauty of Mingei is not yet recognized or understood by the public, it is important to illuminate, thus a unified display emphasizing Mingei.
However in my case, I perceive beauty not through "matters" but through "things." Therefore, there is no distinction between the works of individual or traditional, famous or anonymous, but only an intuitively direct perception of beauty. For this reason, I have not narrowed the limits to Mingei. That is why at the Mingeikan in Tokyo, we at times even display signed works by individual artists. In other words, the "beauty" of an item is always the center criteria, and as long the work resides in beauty, we maintain the freedom of selection (and are not limited to, for example, where the work derives from). My wish is for the Mingeikan in Tokyo to serve as the hall or pantheon of Beauty. And this beauty is not exclusive to Mingei. It just so happened that in hindsight, the majority of works that caught our fascination and admiration were notably works created in the popular tradition, and aristocratic works and signed creations with a healthy beauty ended up the minority. Hence, the place to display such popular traditions was temporarily called "Mingeikan," and the main feature in display was the beauty of Mingei. However, all visitors are not in the least bound by narrowly limiting their appreciation to beauty only to Mingei. My wish is for one to cultivate the heart to be more honest and receptive to all beauties. It is then that one will recognize how excelling the beauty of Mingei is. Especially nowadays, the philosophy of "Mingei" has the tendency of becoming a fixed idea. The danger of becoming stagnant must be reflected upon, and it is my wish to bring up a more free and natural way of appreciation. By doing so, people can naturally be released from the strict way of thinking in dividing terms -- of the opposing notion of artist and craftsman. And then one can appreciate at a deeper level, the joy of accepting both beauties. Such are the wishes of us that have supported and developed the Nihon Mingeikan.
Thus writing so far, there is a phrase that always comes to mind. It is written on the straw hat of a worshiper on his pilgrimage. "By nature there is no East or West, then where is the South and North?"
It is a notice of caution to man's view of the world to divide everything into contrasts.
by Soetsu Yanagi, 1961
(translated by Mimura Kyoko)
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