Handicraft Project I

Mingei to modern

A project during a semester abroad at Kyushu University Japan.

Supervision: Prof. Minako Ikeda (Editor Design)

japan crafts Mingei Mingei to modern Handicraft Project muji Lucie Rie Akiko Ishigaki Pottery Indigo

Introduction

This project is about the traditional Japanese crafts related to the Mingei art movement and the interpretation in the western and modern world.

This topic was not specified. It is an independent project that has evolved with the time of research. Different traditional Japanese crafts were explored and partly tried out by myself. Among these crafts were various ceramics, such as Japanese washi paper, bamboo baskets, blown glasses, indigo dyeing and calligraphy. I tested how to make washi paper, how to work with bamboo, how to make a ceramic dish and how to paint ceramics. I have also seen various small Japanese galleries, the Mingei Museum in Osaka and the Handcrafts Museum in Kyoto.

Based on this research, the book “Mingei to Modern” was created“. Based on this research, a second book „Light“ was created. This book is a documentation of the process of a product. The task of designing a product based on Japanese craftsmanship but interpreted in a modern way.

Mingei

Mingei is the Japanese word for Volkskraft or Volkskunst. It is a new word in the language and is composed of the Japanese word ‚min‘ and ‚gei‘. ‚Min‘ means ‚the mass‘ or ‚people‘. ‚Gei‘ means ‚craft‘. Composed it means ‚craft of the people‘.

Mingei is a Japanese folk art movement. It developed in the late 20‘s and 30‘s. The founding father was Sôetsu Yanagi. Together with the important potters Kanjirô Kawai, Shôji Hamada and the Englishman Bernhard Learch they called this movement into life. The reason for his commitment was the decline of Japanese craftsmanship through industrial mass production with their unimaginative mass products. Sôetsu Yanagi tried to restore their original meaning to the crafted things. With the help of the craftmens, he set himself the task of bringing the beauty of native crafts back to life. In 1936, the four artists together opened the Japan Folk Craft Museum in Tokyo.

The beauty of everyday thing

Mingei is the contrast of aristocratic fine art and everyday life, it refers to objects that are used everyday by ordinary people. These are objects such as clothes, furniture, eating utensils and stationery. In conventional usage, things with exactly three properties are called Mingei.

- ‚ordinary things‘ (getemono)
- ,the roughly made’ (sobutsu)
- ‚sundry implements‘ (zatsugu)
Mingei objects must be for everyday use and be are simple, ordinary objects. They are not expensive and are only produced in small numbers. The creatures are not famous, say simple people‘s men and remain anonymous. There is no name on any object ,made by‘. Mingei objects are not there to put them down and look beautiful, they are commodities. That doesn‘t mean that they are objects that are practical and cheap. They are objects with a special character, they are functional in everyday life and easy to use. Mingei offers a sense of lightness and comfort. The more you use it, the more intimacy it gets and becomes part of your everyday life. The Japanese crafts of the Mingei art movement are diverse.

There is the textile trade, the wood craft, such as bamboo works or wood joints, the cutlery, the calligraphy, the production of paper, the ceramic craft and much more. Probably due to the fact that the founding fathers of the Mingei movement were potter, or because the Japanese pottery scenes are known around the world, ceramics play a major role in the art movement and are always associated with small ceramic bowls. Especially in the pottery scene, the Japanese cultivate a unique form of aesthetic communi- cation. This scene today is the result of revival and reinvention. The origin of the ceramic work is probably already in the food of the Japanese. In contrast to Western tableware, the dishes are divided into small bite-sized portions. Portions are always served separately in numerous bowls and plates. Traditional Japanese dinners (ryokan), traditional dinners, serve
up to 30 different jars. The material of the vessels may be stoneware, porcelain, lacquerware, bamboo or glass. But the main role is played by the ceramics. Japan‘s ceramic tradition is one of the liveliest in the world today and has an amazing diversity in materiality, shape, texture and color.

Soetsu Yanagi

Sôetsu Yanagi was a Japanese philosopher, art historian, esthete and poet. He wondered why certain objects are so beautiful by unknown craftsmen. He became the founding father of the Japanese art movement. Together with the two Japanese ceramists Hamada Shōji, Kawai Kanjirō and the English ceramist Bernhard Learch, they opened the Museum of Japanese Art in Tokyo. Today it is the son of Sôetsu Yanagi, who is also the founder of the modern Muji shop.

Bernhard Leach

Bernhard Leach was a British potter with close ties to Japan. He was born in China. Shortly after his birth, his mother died, which is the reason why he came to Kyoto to his grandparents. Later he went to England to his uncle. When he returned years later to Japan, he made the acquaintance with Yanagi Sôetsu and became part of the Mingei art movement. Bernhard Leach was also a close friend of Lucie Rie, a British potter. Their works did not appeal to him, but he valued her as a potter. He was one of the few connections to Japan for Lucie Rie.

Ceramics

Japanese ceramics are very well known worldwide and something special. First and foremost it is about the fact that it is functional, on the other hand it is important to observe the storage and the production. There are four main types of Japanese ceramics, which then subdivide further. The main types are stoneware, unglazed porcelain stoneware, glazed pottery
and Japanese porcelain. When they talk about the ceramic workshops in Japan, they talk about the ceramic „ovens“. There are the Six Ancient Kilns, what means the six ovens of Japan. These Six Ancient Kilns are the ceramics that are among themain groups. There are different techniques among them. For example, the ceramics in Okinawa are different from ceramics on the main islands. The Kiutsugi technique is a technique of adding broken ceramics together. The Handkraft men in Onta use the Tobikanna and the Hakeme technique, which includes a tight dash. On the following pages the mentioned points are described. However, there are many broad subgroups in Japanese ceramics.

Six Ancient Kilns

There are different types of Japanese ceramics. Each differs from the material and / or the manufacturing process. Koyama Fujio, a learned Japanese and Chinese ceramist, developed the ‚Six Ancient Kilns‘ in the post-war period to describe Japan‘s most notable ceramics.

Bizen ware (produced in Bizen, Okayama)

Bizen ceramic is characterized by baking at high temperatures, which leads to a signifi can‘t hardness. The reddish brown question and traces of molten ash are the clearest features. The clay is sticky, fine, has a high iron content and traditionally a lot of organic substances. The material has a high shrinkage and has a relatively low fire resistance, which some potters consider to be insuffi cient material. Because of this shrinkage, most Bizen products are not glazed, which is another characteristic. During the firing process, the glaze would peel off, hence the reddish-brown color of the clay.

Echizen ware (produced in Echizen, Odacho and Miyazaki, Fukui)

The Echizen clay also has a high iron content and is not glazed. Therefore, the ceramic also has a reddish brown color. The color changes from black ash to red-brown. The ceramic has a high fire resistance and is fired at high temperature. The difference to the Bizen ceramic is that it isn‘t porcelain. It is made of stoneware. The stoneware is very hard, it has no water absorption or air holes. When fired in a wood stove, ash remains as a natural ash glaze. This property is especially appreciated by tea masters.

Seto ware (produced in Seto, Aichi)

In the case of seto ware, it isn‘t the material or process that is the most outstanding feature. It is the use of a variety of glazes. Four different glazes are typical features of the Seto ware. The Kiseto (yellow), Setoguro (black), Tetsuaka (red) and Uwagusuri (ash) glaze. The diversity of the material, including earthen- ware and porcelain, is the second feature of the seto ware.

Shigaraki ware (produced in Kôka, Shiga, east of Lake Biwa)

The Shigaraki ware consists of a tone of special quality. It is burned in Anagama or Noborigama wood burning stoves. As a result, effects, such as a warm reddish Hiiro flash, deep green naturally ash biidoro or burnt black goat, can be achieved. The Shigaraki ceramics is an example of the mediation of Japanese Wabi-Sabi aesthetics.

Tamba ware (produced in Sasayama and Tachikui in Hyôgo)

A feature of Tamba Ware is that they are not made like the other goods clockwise on the lathe, they are turned counterclockwise. The second feature is the extraordinary color. And the mother of the ash cover. The ceramic is fired in a climbing oven for about 60 hours at about 130 degrees celsius. As a result, chemical reactions occur because the ash from the pinewood is scattered on the ceramic during firing. The ashes and the clay mischievously combined and each time new unique pieces with different patterns and colors are created.

Tokoname ware (produced in Tokoname, Aichi Prefecture)

The clay of the Tokoname ware contains a lot of iron and therefore it is today preferred for iced teapots, because the iron is supposed to smooth the bitterness and astringency of tea. Th e ceramic is unglazed and has a reddish brown color, which results from the high iron content. The chemical process of unglazed reddish brown ceramics is called Shudei.

Okinawa

Okinawa was not always part of Japan. It used to be an independent state called Ryûkhû Kingdom. As a result of the Second World War, it was then occupied by the United States.

The pottery differs from ceramics on the main islands of Japan. For one thing, it‘s a different clay. The clay is younger and therefore also in the color light brown. The quality of the dark clay is better. However, it is said that the water tastes better in the clay ceramics, so it is often preferred. In addition, the painting of the ceramic is different and they use a certain technique to score patterns in the ceramic.

Kiutsugi

The Kiutsuhi technique is also called gold connection or gold patches. It is a technique where broken ceramic is put together with gold. Originally, this originated when Japan had sent a ceramic bowl to the Chinese emperor. This broke on the way. Angrily, he sent the shell back and demanded a new one. Japan mended this bowl of gold and sent it back. This shell was more beautiful than the normal shell and over time, this technique became more and more famous.

Picture: Bernardaud

Tobikanna

The Tobikanna technique is a technique to decorate ceramics. Decorated by small scratchs that give a pattern. These slots are made with a slightly arched metal. This equipment is called Tobikanna (jumping iron). Previously, they used a metal part from a hanging clock. When there were no more watches, they searched the flea markets for suitable metal.

It has its origins in Koishiwara and Onta. To date, this technique is used in these cities. However, the technology in Koishiwara has been modernized. Electric lathes are used and the electricity isn‘t rejected. In Onta, on the other hand, the technology has been used for more than 500 years. The lathes are still turned with the foot and any progress is rejected. There are only 7 families in Onta who know how to control and use this technology. It is a legal requirement that only these families may produce and sell this type of ceramics. This is due to the scarcity of the material. Children born in these families are required to continue the work of the family. There is no free- dom of choice. In addition, they are prohibited from resorting to any modern technology. Onta itself is a very small village in the middle of the mountains. The path leads over small, narrow mountain roads and it is not easy to find. When you reach it, a small main road runs between the moun- tains and the seven families have their shops there next to their workshops. Despite this remote location, there is a lot of tourism, because the ceramics of Onta is very famous. Sôetsu Yanagi describes this Tobikanna technique as the most beautiful craft of the Mingei art movement. In 1954 he traveled with the ceramist Bernhard Leach to Koishiwara and both were very impressed and fascinated by this craft . Bernhard Leach stayed in Koishiwara and Onta for a while. There he also worked with the unknown craftsmen.

Monohanako

Hanako Nakazato is a potter whose family are potter in the 14th generation. Her grandfather Taroemon Nakazato and her father Takashi Nakazato were also very famous potters. The family practices the traditional Karatsu pottery of Saga Prefecture. Her father Takashi Nakazato has traveled a lot in the world and has incorporated his western impressions into his pottery. In addition to the traditional pottery, he also produces modern pottery. Hanako Nakazato took over this way of thinking and gets around the world many times. Her technique and philosophy are rooted in the traditional pottery of Karatsu, but the years she has lived in the West have an influenced her lines and forms. Her ceramic forms are very simple and functional. That‘s very well received worldwide. She has shops and galleries in Japan and the US. Her work is a great example of modern Mingei art.

Picture: Monohanako

Worldwide

Other countries also cultivate ceramics in their traditional crafts. Morocco is one of those countries. For an untrained eye, the potteries differ little. Howe- ver, there are two completely different pottery traditions, which differ in several areas. First, the nature of the clay differs. As you can see on the pictures, the color is different. While in Japan the clay mostly contains shades of brown, in Morocco a gray clay dominates. That means the nutrients in the clay are different. This in turn has the consequence that the end result looks different. Another crucial difference is the decoration of the ceramic. In Japan, the ceramic is usually decorated in flat colors or in Okinawa with large ornate patterns. In Morocco, on the other hand, the pottery is adorned with detailed, fine patterns that are applied with a brush. One style accentuates the detail and it takes a long time in the elaboration,

the other style emphasizes naturalness, simplicity and soberness.

Lucie Rie

Lucie Rie was an Austrian-British ceramic artist, who was born in 1902 in Vienna. In Vienna she studied from 1922 to 1926 at the School of Applied Arts. After completing her studies, she opened a ceramics studio. In March 1938, she moved to London to escape from Nazi Austria. During wartime she had no opportunity to pottery. Since she was a woman who couldn‘t do nothing, she secretly designed ceramic buttons. After the end of the war, she opened a pottery and button-making workshop there. There she produced ceramic pots. The German emigrant Hans Coper was from 1946 her partner in the studio. Together they preferred to work with stoneware.

Together with Hans Coper she taught from 1960 to 1971 at the Camberwell School of Art. Lucie Rie‘s pottery was awarded several times and exhibited with great success. In 1969, she received an honorary doctorate from the Royal College of Art. A year earlier she was honored with the OBE and in 1981 with the CBE. In 1991 she was knighted. Her work was less expensive than that of Hans Coper. She worked very carefully and her work was very precise and flawless. As decorations, she used the „Sgraffito technique“ in the late 1940s. However, it only became known in the 1950s. Her tea and coffee service provided her with economic security.

Lucie‘s form and glaze were based on traditional Chinese and Japanese works. She established her own style. She often used raw glazes. In these raw glazes, clay reacts with a single separation with oxides. That provides quite unusual surfaces. The best known works of Lucie Rie are their vases, bowls and tea services.

These objects are very much inspired by Japan. Especially her modernist forms and the use of bright colors are known for her work. Fashion designer Jonathan Anderson collects her pots today. Other works, such as the buttons, which were less well known, she bequeathed to her close friend and Japanese designer Issey Miyake. These were the buttons hidden since the 50s. Issey Miyake was also an avid fan of her. However, he was enthusiastic about the buttons, so he introduced them to his fashion. These buttons formed the basis for Miyake‘s Fall / Winter 1989 collection. In 1990, she was forced to quit her job for health reasons. In 1995 she died.

Pictures one: Artaurea

Picture two: Artrabbit

Picture three: Victoria Art Gallery, Bath & North East Somerset Council

A close friend and well-known fashion designer,

talks about Lucie Rie:

„Five years ago, a book came into my hand as I walked the streets of London. Through this book, I got to know the name and work of Lucie Rie. When I held it in my hands and looked at the photographs of her ceramic work, my heart froze in front of the presence of this woman. I had to get to know her and so on the next visit to London I got the opportunity to visit her studio at the mercy of a friend. „Is my work in Japan understood?“ Lucie asked. „Yes, absolutely,“ I said without hesitation. Her work inspire a new generation of crafts that has lost touch with emotions. They are really wonderful. Lucie Rie‘s work embodies an accuratere are also differences from traditional Japanese ceramics. While Japanese ceramics share the warmth of baked earth, Lucie‘s work embodies a world view that is unique in Western culture and history. She has never visited Japan, she has learned all about it from Bernard Leach and Shoji Hamada.“

Issey Miyake

Issey Miyake is one of the most famous fashion designers in Japan. He created a new design in the fashion world by combining Western and Eastern fashion. He also tries to combine old techniques with new ones. He uses very light textiles and special techniques. The most famous feature of his clothes is the comfort. Today he has made a name for himself and is known worldwide under the brand „Issey Miyake“.

Picture: Thenorthernecho.

Lucie and Mingei

The art of Lucie Rie is an example of the western variant of Mingei art. It fulfills almost the same criteria. They are ordinary objects for everyday use, mainly vases and bowls. They are coarse and rough, which is a special trademark of her. With self-invented techniques, she tried a variety of designs. For example, she applied the glaze to the ceramic before firing in the oven, resulting in coarse bubbles on the objects. This, in turn, is considered a form of creative expression that belongs to the „various supple- ments,“ which is another criterion of the Mingei art movement. Their ceramics are unique and every object is made by hand for their own artwork.

Picture: Artaurea

„Ceramic is an adventure for me. All new creations are a new beginning.

I will never stop learning. For the general public the shape and design of the ceramic

does not change much. But for those who love ceramics, it‘s never ending. Excitement,

it‘s not shocking, it‘s easy calm and great. If someone asks me whether I am a modern potter or

a traditional Potter, I would say that I don‘t know and I don‘t care. Art is always now contemporary.

It does not matter if you are old or young. Art theory is meaningless to me.

Beauty is important. It‘s in philosophy. I am neither original nor unique.

Something like the awareness that I‘m not enough, drives me on.„

-Lucie Rie

Akiko Ishigaki

Akiko Ishigaki lives on the island of Iriomote, with a mysterious wild landscape. The people of this island live in a sensual world, in a world where people communicate with the gods. They try to capture the colors of heaven and earth to create extraordinary shocks. On this island there are only 2000 inhabitants and a lot of jungle. There is a very humid climate.

Picture: Japantimes.

Akiko Ishigaki knows the interaction of nature on this island very well. She was born on Taketomijima Island. She is the third generation of weavers in her family. She was taught by an unknown Japanese master who is considered a living legend. Today, her works travel around the world, Tokyo, Milan, New York and much more. Issey Miyake has also worked with her, a combination of centuries-old coeur and modern design.

Ten years ago, she founded her own brand with two other women. It is called ‚Mapei‘, which is a local dialect and is the meaning of the south wind before the beginning of summer. Their concept is based on the idea to capture the pleasant relaxed summer feeling. Mapei is a modern interpretation of a traditional craft. Akiko Ishigaki makes the fabrics, the other two women in Tokyo take care of fashion design and sales.

Together with her husband, she works on the material. Her husband Kismet helps her with everything that needs to be done outside. He is a huntergatherer and was born on Iriomote. Before he goes into the jungle to collect natural coloring materials, he asks the gods for permission to enter the jungle. When he has found something he can use, he takes only as much as he needs and leaves the other half for the gods. On the beach he plants mangrove trees. Through their supernatural roots they provide a protective barrier against the waves of the mighty ocean. They use the bark of these trees as a coloring agent. You can use a tree for a good 100 years. However, it takes 30 years to use it. Every year he cuts a tree and plants 10 new ones.

Picture one: Fernsehserien.

Picture two: Nature-and-culture.

In Kyoto, Akiko learned all about dyeing from Master Fukumi Shimura. On Iriomote she had to change the process and the materials as the plants, the water and the weather are different. She says, „All plants around us are green. It is very mysterious that no color produces green. The world is full of puzzles”. Akiko focuses on the primary colors red, yellow, and blue, based on the Edo engravings.

They also use natural fibers for the wool. They use the banana trees. There are three different types on the island. Of one they use the flowers, of the other the fruits and of the third finally the fibers. The core of the banana tree has the highest quality. If you want a high quality product, you need around 100 banana strains. The cooked fiber is then cleaned by passing it through a piece of bamboo and spatula. After that it is dried in the sun. After dried, the fiber is prepared for spinning. The individual threads must be linked. With the Hatamsurai technique, the threads are knotted, leaving a visible knot in the final product. This is how it is done on the mainland in Japan.

On the other hand, Akiko is twirling her strings, which is the hardest part and takes the most time. The majority of the manufacturing process can not be seen in the final product, but it is crucial for the result. With the finished piece she goes into the sea water. The natural color benefits from the water and coral reefs of the island. She says that the bath removes impurities and fixes the paint. After that, the fabrics goes to Tokyo for the fashion design and sales women. It is a long manufacturing process with many individual steps.

Akiko says, „When clothes are made by hand, there is a special connection between the creator and the wearer.“

Dyeing

The term „indigo“ combines several shades. There are several deep shades of blue between the primary color blue and the mixed color violet. The name is derived from the eponymous dye, the indigo plant. This dye is then used to dye clothing. Dyeing with indigo blue is a traditional Japanese dyeing technique. The colorant is obtained from Knoeterichgewaechsen (Polygonaceae). The leaves of this plant are dried for a long time and then soaked for a long time and mixed. They should ferment. When fermenting, the raw material „Sukumo“ is produced. Ash is added to this raw material. This serves to preserve the dye bath. It is important to measure the exact amount of water added. In addition, the temperature is very important to note. Capture is therefore the most important feature of a dyer. The fabric that is dyed should not contain synthetic substances. By repeated dipping the fabric is dyed. In the wet state, the shock is green rather than blue. But by drying in the air by oxidation creates the luminous indigo blue. The more often the shock is submerged, the darker the blue becomes. By setting, clamping or other techniques, the famous patterns of staining technique.

Sinkukan Shop Fukuoka

Muji

Muji is a Japanese lifestyle chain that was founded in 1980. Meanwhile, it is represented worldwide and offers a wide selection of high quality products. The products are in the field of household goods, clothing and food. Muli is an acronym for ‚Muhirushi Ryohin‘, which means small brand, quality products‘. The business idea is based on three basic principles. ‚The choice of materials‘, ‚the rationalization process‘ and ‚the simplification of the packaging‘. The products themselves are produced in a traditional production product. They are simple products, but not minimalistic. Muji herself says that their products are like empty containers that make the simplicity and emptiness. That, in turn, is the ultimate universality that encompasses the feelings and thoughts of all people.

At that time, Muji‘s origin was an in-depth rationalization of the manufacturing process with a view to creating simple, low-cost, high-quality products. An example explains the rationalization. In papermaking, they leave the bleacher for the pulp. Spot is the paper light beige. These papers are used for packaging and stickers.

That was a strong contrast to the products back then. They received recognition worldwide. Muji himself says that it‘s because she does not focus on strong affinity and reactions, like ‚I have to have‘ or ‚I really want to‘. Their goal is to achieve a rational customer satisfaction. This satisfaction can also express renunciation. It is about wiping away light dissatisfaction and looking the expression ‚enough‘ with clarity and confidence. With the key words ‚cheap‘, ‚simple‘, ‚anonymous‘ and ‚close to nature‘, customers are enthusiastic worldwide. They have more than 7000 items in more than 700 Muji stores.

Picture: Screenshot Muji Website

Found Muji

Found Muji means translated, search and find. It was founded by Muji in 2003 and it‘s about finding things instead of making new ones. They have long sought to find unissued everyday necessities from around the world. These found things are then improved according to the changes in life, culture and customs and regenerated at a reasonable price.

Muji went on various trips in different countries. They looked at the production of the traditional craft of textiles in India. They were in Finland, North America and also in Germany to find things, instead of making new ones. On their website you can follow their travels and the resulting products.

Muji was founded by Tsujii Takashi. He is the son of Soetsu Yanagi, the founding father of the Mingei art movement. Today, Tsujii Takashi heads the Mingei Museum on Tokyo. Probably due to the direct proximity to Mingei, he has founded a lifestyle chain that is the modern interpretation of the Mingei movement.

Making Off

In order to better understand the Japanese crafts I have done and tried some crafts myself. Various workshops are offered for this, but also by linking contacts I was offered the opportunity to come home and work with them. This experience was for me one of the most decided and important experiences in this research process. It is impressive how quick and easy these craftsmen do their work, while I need about five times the time.

Ikutouen pottery studio

Sinsei-Toubon shop

Handmade

Thank you

I thank all crafts people who have shown me their work, but also the liaison persons, who have given me the contact to the respective persons. It was an honor to work with you and that‘s why I want to dedicate this book especially to these people. Many Thanks!

Minako Ikeda

Kyushu University Fukuoka, Kyushu, Japan

Yuji Tanaka

Sinkukan Shop Fukuoka, Kyushu, Japan

Junko Takaesu

Womans University Fukuoka, Kyushu, Japan

Kimi Asato & her husban

Sinsei-Toubon shop Naha, Okinawa, Japan

Syuri Takayasu

Ikutouen pottery studio Naha, Okinawa, Japan

Handicraft Project II

Light

Based on this project "Mingei to Modern” was created a project second project „Handicraft Project II - Light“. This project is a documentation of the process of a product.

Handicraft Project I + II