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Folk Crafts) and DENTD-TEKI KDGEI-HIN (Traditional Crafts) As a Base of Reappraisal

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Folk Crafts) and DENTD-TEKI KDGEI-HIN (Traditional Crafts) As a Base of Reappraisal 比治山大学現代文化学部紀要，第15号，2008 Bul. Hijiyama Univ. No.15, 2008 39 An Economic Essay on Traditional Handicraft Industries by Taking MINGEI (Folk Crafts) and DENTD-TEKI KDGEI-HIN (Traditional Crafts) as a Base of Reappraisal 佐 中 忠 司 Tadashi SANAKA Japan has been well known as a nation of handicraft. Hand made items used to be conventionally divided into some such categories as traditional crafts, fine arts, mingei (folk-crafts), household utensils and so on. Is it possible to make a sharp distinction between those and, if possible, then what kind of criterion could be conceivable for the purpose? Even today, the definition of craft is not necessarily definite and easy to identify. We have some items which could, in many ways, time be classified into different categories. Ceramics of the highest quality, for example, can at the same time be fine art, practical craft and mingei as well. So-called traditional crafts include a wide range of objects which can be handmade in whole or in part, by industrial process or by studio artists as well. They can be functional or non- functional, and can hold a high or popular art status. The popular understanding of Japanese crafts outlined here is based on the convention borrowed from Europe in the late 19th century. Nevertheless, the definition of handicraft is not as clear-cut as one might expect, due to the fact that art, visual culture and daily necessities developed in a different manner. Some conventional ways of definition do not necessarily fit fairly enough with Japanese art culture and as a result the current definition of Japanese crafts is somewhat more complicated than its European counterpart. The typical one is an institutional separation of “craft" and “fine art". Japanese art (fine art) and craft have sometimes been taken as synonymous, and in fact have overlapped in a number of cases. The purpose of this essay is to get better socio-economic understandings on craft businesses in Japan from the viewpoint of traditional handicraft industries which include a wide range of handmade objects. It is not without academic interest to study an essential feature of this genre. Here is a need to sharpen the focus of the distinction among various genres of handmade articles. To conclude in advance, the author can say that these concepts, from the viewpoint of economic theory, can be and should be clearly distinguished one from another respectively. I. Handicraft Industries in Japan 1. Handicrafts by definition Handicraft is a type of work where useful and decorative items are made chiefly by hand or by applying only simple tools. Handicrafts are generally considered more traditional work, created as a 40 佐 中 忠 司 necessary part of daily life. Handicraft items are intended to be used, worn, and so forth, having a purpose beyond simple decoration. The term is also applied to traditional means of making goods. Items made by mass production or machines are not handicrafts. In practical terms, the categories have a great deal of overlap. The individual artisanship of the items is a paramount criterion; such items often have cultural and/or religious significance. So-called arts and crafts, however, implies more of a hobby pursuit, a demonstration and/or perfection of a creative technique. Usually, what distinguishes the term handicraft from the frequently used category arts and crafts is a matter of intent. In a preindustrial community, it is said that artisans were the dominant producers of such goods including furniture, clothing, jewellery, household items, and tools. Artisans traditionally work in media such as wood, ceramic, glass, common and precious metals, basketry, textile, and leather. Artisans employ creative thinking and manual dexterity to produce their goods that may be functional or strictly decorative. It is well conceivable that manufacture by skilled hand and with hand tools imparts unique and individual qualities to artisanal products, in contrast to mass produced goods where every one is nearly identical. The term “craft" is often used to describe the family of artistic practices within the decorative arts that traditionally are defined by their relationship to functional or utilitarian products or by their use of such natural media as wood, clay, glass, textiles, and metal. Folk art follows craft traditions, in contrast to fine art or “high art" and crafts practiced by independent artists working alone or in small groups are often referred to as studio craft. The decorative arts are often categorized in opposition to the “fine arts", namely, painting, drawing, photography, and large-scale sculpture. Some distinguish between decorative and fine art based on functionality, intended purpose, importance, status as a unique creation, or single-artist production. Fine art is any art form developed primarily for aesthetics rather than utility. This definition tends to exclude visual art forms that could be considered craftwork or applied art, such as textiles. The final cause of fine art is the art object itself; it is not a means to another end except perhaps to please those who behold it. Applied arts refers to the application of design and aesthetics to objects of function and everyday use. Fine art is seen as being distinct from applied arts, which presumably includes the more commonplace crafts of the masses within the realm of the arts. Whereas fine arts serve as intellectual stimulation to the viewer or academic sensibilities, the applied arts incorporate design and creative ideals to objects of utility, such as a cup, magazine or decorative park bench. Since the Arts and Crafts Movement at the turn of 19th century, the applied arts have increasingly gained in importance and recognition. 2. A brief history of Japan’s craft industries Crafts which had thrived under the patronage of daimyA, feudal lord, were in some places developed into nationwide large-scale industries of the time. During the following period some crafts gradually became extinct, while other crafts were supported by the new government. These crafts which were regarded as important for export trade were strategically marketed by sending them to a series of international exhibitions and traded through semi-governmental companies. Interest was aroused further by the Japonisme trend propagated in the West. It is said that so-called “export crafts" of the time had characteristics of modern technology and taste often reflecting Victorian excessive An Economic Essay on Traditional Handicraft Industries by Taking MINGEI (Folk Crafts) and DENTB-TEKI KBGEI-HIN (Traditional Crafts) as a Base of Reappraisal 41 decorativeness and the contemporary design trend of Art Nouveau and were developed through various channels. Craft-based proto-design activities were also developed during this time. When the Ministry of Agriculture and Commerce Exhibitions (NAShAmushABijutsu KAgei Tenrankai ) was set up in 1913, one of its missions was to improve and activate export craft design. The Imperial Craft Association (TeikAku KAgei Kai ) was established in 1926, modelled after the Deutsche Werkbund. The government also sent students and envoys to the west to learn advance craft and industrial technology. In 1928 the Ministry of Commerce and Industry established the Industrial Arts Research Institute (KAgei ShidAsho) to take the official initiative in the research and development of export craft design by taking advice from eminent western designers. The TaishA(1912-1926) and early ShAwa (1926-1989) periods are often called the “golden period" of the modern crafts movements. Arguably the most important modern craft movement was the mingei (folk crafts) movement led by Yanagi SAetsu, which began in the 1920s. This movement “discovered" functional daily crafts with simple natural beauty, made by anonymous craftspeople as modern aesthetic objects. Yanagi’s mingei theory, which argues “quintessential Japaneseness" as “modern", became the inspiration for both nationalists and Japanese craft artists. A number of eminent studio craft artists representing Japanese modern craft emerged from this movement. While the Japanese vernacular was searched, new types of studio craft artists who trained in art schools emerged under the strong influence of modern movements such as Art Deco and Constructivism. Their creative energy led to the publication of numerous craft magazines and the mushrooming of avant-garde craft groups. The Japan Craft Art Association (Nihon KAgei Bijutsu Kai ) was established in 1926. This was followed in 1928 by official recognition of modern studio craft through the addition of a “craft art" section to the prestigious Imperial Arts Exhibition (Teikoku Bijutsu Tenrankai, based on the earlier Bunten and launched in 1919 after the model of the French Salon), thereby recognising craft as a “creative art" along with paintings and sculpture. This became a landmark for the modern craft world. During the Second World War craft activities were heavily politicised. In collaboration with the Imperial Rule Assistance Association (Taisei Yokusan Kai ), national bodies such as the Industrial Arts Research Institute and the Great Japan Crafts Association (Dai Nippon KAgei Kai, established in 1943 and later to become the Japan Arts and Crafts Control Association, Nippon Bijutsu Oyobi KAgei TAsei KyAkai ) implemented the regulations and exerted control over craft makers. The aim was to promote the creation of daiyAhin (substitute products) and a number of selected crafts deemed necessary for daily use, made of non-precious materials. One of the most important developments of the post-war period was the establishment of the Japan Craft Association (Nihon KAgei Kai ) and the opening of the Japan Traditional Crafts Exhibition (Nihon DentA KAgeiten) in 1955. At this time the government also set up an “honours listing" for crafts and craft makers, governed by the Ministry of Education, awarding the titles of Important Intangible Cultural Property (JuyAMukei Bunkazai ) and Living National Treasure (Ningen KokuhA). In this way, traditional techniques and craftspeople have been protected from extinction. Studio craft activities have been ever more diversified.
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