Japanese craft

Japanese craft dates back to the earliest human settlement of the islands. Handicrafting in Japan has its roots in the rural crafts and the material-goods necessities of ancient times. Traditionally, artisans used naturally and indigenously occurring materials, and objects were created to be used, not just to be displayed. As such, the border between art and craft is not always clearly defined. Crafts were needed by all strata of society and became increasingly sophisticated in their design and execution. Craft had close ties to folk art, but developed into fine art, with a number of aesthetic schools of thought, such as , arising. Craftsmen and women therefore became artisans with increasing sophistication. However, wares were not just produced for domestic consumption, but at some point items such as ceramics made by studio craft were produced for export and became an important pillar of the economy. Family affiliations or bloodlines are of special importance to the aristocracy and the transmission of religious beliefs in various Buddhist schools. In Buddhism, the use of the term "bloodlines" likely relates to a liquid metaphor used in the sutras: the decantation of teachings from one "dharma vessel" to another, describing the full and correct transference of doctrine from master to disciple. Similarly, in the art world, the process of passing down knowledge and experience formed the basis of familial lineages. For ceramic, metal, lacquer, and bamboo craftsmen, this acquisition of knowledge usually involved a lengthy apprenticeship with the master of the workshop, often the father of the young disciple, from one generation to the next. In this system called , traditions were passed down within a . It encompassed strict rules that had to be observed in order to enable learning and teaching of a way (). The wisdom could be taught either orally (), or in writing (). Living in the master's household and participating in household duties, apprentices carefully observed the master, senior students, and workshop before beginning any actual training. Even in the later stages of an apprenticeship, it was common for a disciple to learn only through conscientious observation. Apprenticeship required hard work from the pupil almost every day in exchange for little or no pay. It was quite common that mastery in certain crafts were passed down within the family from one generation to the next, establishing veritable dynasties. In that case the established master's name was assumed instead of the personal one. Should there be an absence of a male heir, a relative or a student could be adopted in order to continue the line and assume the prestigious name. With the end of the Edo period and the advent of the modern Meiji era, industrial production was introduced; western objects and styles were copied and started replacing the old. On the fine art level, patrons such as feudal lords were unable to support local artisans as much as they had done in the past. Although handmade Japanese craft was once the dominant source of objects used in daily life, modern era industrial production as well as importation from abroad sidelined it in the economy. Traditional craft began to wane, and disappeared in many areas, as tastes and production methods changed. Forms such as swordmaking became obsolete. Japanese scholar Okakura Kakuzō wrote against the fashionable primacy of western art and founded the periodical to draw attention to the issue. Specific crafts that had been practiced for centuries were increasingly under threat, while others that were more recent developments introduced from the west, such as glassmaking, saw a rise. 20th century , Kyoto () Although these objects were designated as National Treasures – placing them under the protection of the imperial government – it took some time for their cultural value to be fully recognized. In order to further protect traditional craft and arts, the government, in 1890, instituted the guild of , who were specially appointed to create works of art for the Tokyo Imperial Palace and other imperial residences. These artists were considered most famous and prestigious and worked in the areas such as painting, ceramics, and lacquerware. Although this system of patronage offered them some kind of protection, craftsmen and women on the folk art level were left exposed. One reaction to this development was the – the folk art movement that developed in the late 1920s and 1930s, whose founding father was Yanagi Sōetsu (1889–1961). The philosophical pillar of was . Yanagi Sōetsu discovered beauty in everyday ordinary and utilitarian objects created by nameless and unknown craftspersons. The Second World War left the country devastated and as a result, craft suffered. The government introduced a new program known as Living National Treasure to recognise and protect craftspeople (both individually and as groups) on the fine and folk art level. Inclusion in the list came with financial support for the training of new generations of artisans so that the art forms could continue. In 1950, the national government instituted the intangible cultural properties classification, which is given to cultural property considered of high historical or artistic value in terms of the craft technique. The term refers exclusively to the human skill possessed by individuals or groups, which are indispensable in producing cultural property. It also took further steps: in 2009, for example, the government inscribed into the UNESCO Intangible Cultural Heritage Lists. Prefectural governments, as well as those on the municipal level, also have their own system of recognising and protecting . Although the government has taken these steps, private sector artisans continue to face challenges trying to stay true to tradition whilst at the same time interpreting old forms and creating new ideas in order to survive and remain relevant to customers. They also face the dilemma of an ageing society wherein knowledge is not passed down to enough pupils of the younger generation, which means teacher-pupil relationships within families break down if a successor is not found. (1992) Despite modernisation and westernisation, a number of art forms still exist, partly due to their close connection to certain traditions: examples include the Japanese tea ceremony, , and to a certain degree, martial arts (in the case of sword making). In the1950s the mayor of Gifu invited Isamu Noguchi to help revitalise the declining local Washi paper industry. The collaboration led to the artist's reinterpretation and modernisation of traditional Akari lanterns. Noguchi reimagined the lamps using wire rather than bamboo for the structure, and electric lightbulbs rather than candles. The resulting "Akari light sculptures", as the artist called them, could be easily flattened and shipped, and were an immediate commercial success in Japan and worldwide. The lamps are still handmade in Gifu by the original manufacturer, Ozeki & Co. Contemporary practice (2024) The takes place every year with the aim of reaching out to the public. In 2015, the Museum of Arts and Design in New York exhibited a number of modern artists in an effort to introduce Japanese craft to an international audience. In 2020 the Victoria and Albert Museum exhibition Kimono: Kyoto to Catwalk "presented the kimono as a dynamic and constantly evolving icon of fashion." The show, which was described as "a revelation" and "unmissable", was subsequently displayed at the V&A Dundee. More recent exhibitions and initiatives such as the ORIGIN of SIMPLICITY at the ADI Design Museum in Milan, Nendo sees Kyoto at the Friedman Benda gallery in New York, Distillation of Architecture at the Architectural Association in London, and the Craft x Tech Tohoku Project have set out to both preserve these unique craft traditions and bring them to a wider audience by introducing modern technologies and instigating collaborations with international artists, architects, and designers such as Kengo Kuma, Sabine Marcelis, Yoichi Ochiai, and Oki Sato. exhibitions such as international art, craft, and design fairs, == Ceramics ==

Japanese pottery and porcelain, one of the country's oldest art forms, dates back to the Neolithic period. Kilns have produced earthenware, pottery, stoneware, glazed pottery, glazed stoneware, porcelain, and blue-and-white ware. Japan has an exceptionally long and successful history of ceramic production. Earthenware was created as early as the Jōmon period (10,000–300 BC), giving Japan one of the oldest ceramic traditions in the world. Japan is further distinguished by the unusual esteem that ceramics holds within its artistic tradition, owing to the enduring popularity of the tea ceremony. Some of the recognised techniques of Japanese ceramic craft are: • • • • • • • • • There are many different types of Japanese ware. Those more identified as being close to the craft movement include: • , from Aizu in Fukushima Prefecture • , from Imbe in Bizen province • , from Echizen, Odacho, and Miyazaki in Fukui Prefecture • , from Hagi, Yamaguchi prefecture • , from Hasami, Nagasaki prefecture • , porcelain developed by Sakaida Kakiemon in Arita, Saga prefecture • , from Karatsu, Saga prefecture • , from Kutani, Ishikawa prefecture • , from Mashiko, Tochigi prefecture • , from Sado, Niigata prefecture • , from the Hamadōri area of Fukushima Prefecture • , from Onta, Ōita prefecture • , from Seto, Aichi prefecture • , from Shigaraki, Shiga prefecture • , from Mino province • , from Tokoname, Aichi prefecture • , from Ryūkyū Islands == Textiles ==

(2024) • • • • • • • Some weaving techniques are: • • • • Amongst the more well-known regional textiles are: • , silk brocade using flosting yarns and gilt paper from the Nishijin district of Kyoto • , a variety of from Yūki, Ibaraki prefecture • , a variety of from Kumejima, Okinawa • , a dyeing techniwue from Kaga, Ishikawa prefecture • , a dyeing technique from Kyoto • , a stencil-dye technique from the Ryukyuan Islands Other techniques include braid making, and , a form of embroidery. == Lacquerware ==

, Edo period, Tokyo National Museum (18th century) The art of Japanese lacquerware can be traced to prehistoric artefacts. Japanese lacquerware is most often employed on wooden objects, which receive multiple layers of refined lac juices, each of which must dry before the next is applied. These layers make a tough skin impervious to water damage and resistant to breakage, providing lightweight, easy-to-clean utensils of every sort. The decoration on such lacquers, whether carved through different-colored layers or in surface designs, applied with gold or inlaid with precious substances, has been a prized art form since the Nara period (710–94 AD). Items produced using lacquer are used for daily necessities like bowls and trays, but also for tea ceremony utensils such as (tea caddies) and (incense containers). Items also decorated with lacquer, and used more commonly in the past, include and . Japanese lacquerware is closely entwined with wood and bamboo work; the base material is usually wood, but or can also be used. The different techniques used in the application and decoration of lacquer are: • , which is the oldest and most basic decorative technique • • • • • • • • Amongst the more well-known types of lacquerware are: • , lacquerware from Wajima, Ishikawa prefecture • , lacquerware from Tsugaru region around Hirosaki, Aomori prefecture == Wood and bamboo ==

Wood and bamboo have always had a place in Japanese architecture and art due to the abundance of available materials, resulting in the long tradition of Japanese carpentry. Both secular and religious buildings were and are made out of wood, as well as items used in the household, typically dishes and boxes. Other traditions of woodwork include (Japanese marquetry work) and the making of furniture such as . Japanese tea ceremony is closely entwined with the practices of bamboo crafts (for spoons) and woodwork and lacquerware (for ). Types of woodwork include: • • • • Japanese bamboowork implements are produced for tea ceremonies, flower arrangement and interior goods. The types of bamboowork are: • • The art of Japanese bamboo weaving in patterns such as is well known; its name is composed from the words (basket) and (eyes), referring to the pattern of holes found in , where laths woven in three directions (horizontally, diagonally left and diagonally right) create a pattern of trihexagonal tiling. The weaving process gives the pattern a chiral wallpaper group symmetry of p6 (632). Other materials such as reeds are also used in the broad category of Japanese woodwork. is a traditional form of weaving basket for cats. Amongst the more well-known varieties of miscellaneous woodwork are: • , wooden marquetry from Hakone, Ashigarashimo district, and Odawara, Kanagawa prefecture • , wooden chests of drawers, from Oshu, Iwate prefecture == Metalwork ==

(early 1890s) Early Japanese iron-working techniques date back to the 3rd to 2nd century BC. Japanese swordsmithing is of extremely high quality and greatly valued; swordsmithing in Japan originated before the 1st century BC, and reached the height of its popularity as the chief possession of warlords and samurai. Swordsmithing is considered a separate artform from iron- and metalworking, and has moved beyond the craft it once started out as. Outside of swordsmithing, a number of items for daily use were historically made out of metal, resulting in the development of metalworking outside of the production of weaponry. Traditional metal casting techniques include: • • • , the technique of shaping metal items through beating them with a hammer, is also used in traditional Japanese metalwork. Arguably the most important Japanese metalworking technique is , the joining of two pieces of metal—typically iron and carbon steel—by heating them to a high temperature and hammering them together, or forcing them together by other means. Forge welding is commonly used to make tools such as chisels and planes. One of the most famous areas for its use of forge welding is Yoita, Nagaoka City, located in Niigata prefecture, where a technique known as is used. To create various patterns on the surface of a piece of metal, metal carving is used to apply decorative designs. The techniques include , , and . Amongst the more well-known types of Japanese metalware are: • , ironware from Morioka and Oshu, Iwate prefecture • , copperware from Takaoka, Toyama prefecture == Dolls ==

There are various types of traditional , some representing children and babies, some representing the imperial court, warriors and heroes, fairy-tale characters, gods and (rarely) demons, and also everyday people. Many types of have a long tradition and are still made today, for household shrines, formal gift-giving, or for festival celebrations such as , the doll festival, or , Children's Day. Some are manufactured as a local craft, to be purchased by pilgrims as a souvenir of a temple visit or some other trip. There are four different basic types of doll, based on their base material: • • , made out of , a substance made out of paulownia sawdust mixed with paste that creates a clay-like substance • , made out of papier-mache • , made out of ceramic The painting or application techniques are: • • • • • • One well-known type of is . == Paper making ==

Akari light sculpture by Isamu Noguchi (1950s) Some printmakers have their own logo made into their papers, and since the Meiji period, another special application has been Western marbleized endpapers (made by the Atelier Miura in Tokyo). == Other crafts ==

Glass The tradition of glass production goes back as far as the Kofun period in Japan, but was used very rarely and more for decorative purposes, such as decorating some . Only relatively late in the Edo period did it experience increased popularity, and with the beginning of modernisation during the Meiji era large-scale industrial production of glassware commenced. Despite the advent of wider industrial production, glassware continues to exist as a craft – for example, in traditions such as and . The various techniques used are: • • • • • Cloisonné () is a glass-like glaze that is applied to a metal framework, and then fired in a kiln. == See also ==