Mingei: Japan's Enduring Folk Arts. Amaury Saint-Gilles
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67 Okesa-goma
68 Susuki-mimizuku
69 lto-mari
70 Ema
71 Sumi-tsubo
72 Hagoita
73 Tengu
74 Soba-choko
75 Neputa-chochin
76 Kibazaru
77 Somin-shorai
78 Sakura-kawa-zaiku
79 Tefuki Glass
80 Hinoki-bento
81 Beigoma
82 Suzuri
83 Shu-rosoku
84 Jizo-sama
85 Furin
86 Shugi-bukuro
87 Ki-ushi
88 Hato-bue
89 Nobori-zaru
90 Shimenawa
91 Omiki-guchi
92 Hitsuji-dorei
93 Akebi-kago
94 Dai-kichi-goma
95 Poppen
96 Kumi-himo
97 Hebi-bue
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.