Japanese Fine Arts
What raises Japanese handicrafts to the level of fine arts? It is, one could argue, the standards set by the nation’s Ningen kokuho: its Living National Treasures, who hand down these traditional skills from generation to generation.
Legally speaking, these people are “Holders of Important Intangible Cultural Properties.” A law, enacted in 1950, establishes two broad categories of Intangible Property. One comprises the performing arts: Kabuki, Noh, Bunraku puppet theater, and traditional music and dance. The other embraces a wide range of handicrafts, most of them in the various forms and styles of textiles, pottery, lacquerware, papermaking, wood carving, and metalworking—from all over the country. The tiny cohort of individuals and groups who exemplify these traditions at the highest levels (there are a maximum of 70 designees at any given time) receive an annual stipend; the money is intended not so much to support the title holders (Living National Treasures command very healthy sums for their work) as to help them attract and train apprentices, and thus keep the traditions alive.
Official sponsorship has proven itself a necessity in more than a few craft traditions. The weaving of bashofu, for example, a fabric from Okinawa, is on its way to becoming a lost art—unless the present Living National Treasure can encourage enough people to carry on with the craft. Papermaking, a cottage industry that once supported some 28,500 households nationwide, now supports only a few hundred.
Japanese lacquerware has its origins in the Jomon period (10,000–300 BC), and by the Nara period (710–794) most of the techniques we recognize today, such as maki-e (literally, "sprinkled picture"), the use of gold or silver powder to underlay the lacquer, had been developed. The Edo period (1603–1868) saw the uses of lacquer extended to vessels and utensils for the newly prosperous merchant class.
The production of lacquerware starts with refining sap from the Japanese sumac (urushi). The lacquer is layered on basketry, wood, bamboo, metal, and even paper. The polished black and red surfaces may have inlays of mother-of-pearl or precious metals, creating motifs and designs of exquisite beauty and delicacy. Many regions in Japan are famous for their distinct lacquerware styles, among them Kyoto, Wajima, and Tsugaru. Hint: tableware with lacquer over plastic bases, rather than wood, are no less beautiful, but far less expensive.
Washi, Japanese paper, can have a soft translucent quality that seems to belie its amazing strength and durability. It makes a splendid material for calligraphy and brush painting, and it can be fashioned into a wide variety of traditional decorative objects. The basic ingredient is the inner bark of the paper mulberry, but leaves, fiber threads, and even gold flake can be added in later stages for a dramatic effect. The raw mulberry branches are first steamed, then bleached in cold water or snow. The fibers are boiled with ash lye, rinsed, beaten into pulp, and soaked in a tank of starchy taro solution. A screen is dipped into the tank, pulled up, and rocked to drain the solution and crosshatch the fibers. The wet sheets of paper are stacked to press out the excess liquid, then dried in the sun.
The best places to watch the papermaking process are Kurodani, near Kyoto; Mino, in central Japan; and Yame, near Kurume. Many are known for their unique washi products: Gifu for umbrellas and lanterns, Nagasaki for its distinctive kites, Nara for calligraphy paper.
Calligraphy arrived in Japan around AD 500 with the sacred texts of Buddhism, written in kanji (Chinese ideograms). By 800, the kana syllabic alphabets of the Japanese language had also developed, and the writing of both kanji and kana with a brush, in India ink, had become an art form—a wedding of meaning and emotion that was (and still is) regarded as a revelation of the writer’s individual character. The flow of the line from top to bottom, the balance of shapes and sizes, the thickness of the strokes, the amount of ink on the brush: all contribute to the composition of the work. There are five main styles of calligraphy in Japan. Two are based on the Chinese: tensho, typically used for seal carving; and reisho, for the copying of sutras. Three are solely Japanese: kaisho, the block style often seen in wood carving; and the flowing sosho (cursive) and gyosho styles. Sosho is especially impressive—an expression of freedom and spontaneity that takes years of discipline to achieve; retouching and erasing is impossible.
There are some 30 traditional styles of pottery in Japan, from unglazed stoneware to painted porcelain. Since the late 1600s, when Imari and Kakiemon porcelain were exported to Europe, the achievements of Japanese potters have delighted collectors.
Although the Japanese have been making pottery for some 12,000 years, the styles we know today were developed by Chinese and Korean craftsmen who immigrated (or were forcibly brought) to Japan in the 17th century. Some of them discovered deposits of fine kaolin clay in northern Kyushu, and founded the tradition in that region of porcelains like Arita-yaki, with brilliantly colored enamel decoration over cobalt blue underglaze. Other porcelain wares include Tobe-yaki from Ehime Prefecture, Kutani-yaki from Ishikawa Prefecture, and Kiyomizu-yaki from Kyoto.
These apart, most Japanese pottery is stoneware—which has an earthier appeal, befitting the rougher texture of the clay. Stoneware from Mashiko, where celebrated potter Hamada Shoji (1894–1978) worked, is admired for its rustic brown, black, and white glazes, often applied in abstract patterns. Many regional potters use glazes on stoneware for coloristic effects, like the mottled, crusty Tokoname-yaki, with its red-iron clay. Other styles, among them the rough-surfaced Shigaraki-yaki made near Kyoto; the white or blue-white Hagi-yaki; and Bizen-yaki from Okayama Prefecture, are unglazed: their warm tones and textures are accidents of nature, achieved when the pieces take their colors from the firing process, in wood-burning through-draft kilns called anagama or nobori-gama, built on the slopes of hills. The effects depend on the choice of the wood the potter uses, where he places a particular piece in the kiln, and how he manipulates the heat, but the results are never predictable.
Main pottery towns include Hagi, Bizen, and Arita, but you can always find their products in Kyoto and Tokyo. If you do go on a pilgrimage, call ahead to local kilns and tourist organizations to verify that what you want to see will be open and to ask about sales. Recommended reading: Inside Japanese Ceramics by Richard L. Wilson.
Run your fingers over a Japanese textile, and you touch the fabric of Japanese social history. As the caste system took shape under Buddhist and Confucian influences, it created separate populations of samurai, farmers, artisans, and merchants (in descending order). Rules and conventions emerged—enforced in the Edo period by strict sumptuary laws—about who could wear what, and on what occasions. Appearances identified people. One glance at a kimono, and you knew the wearer was a woman of middle age, the wife of a prosperous tradesman, on her way to the wedding of a family connection. Order was maintained. You were what you wore. Courtesans and actors, of course, could dress over the top; their roles gave them the license. And little by little, the merchants also found ways around the laws, to dress as befit their growing wealth and power. Evolving styles and techniques of making fabrics gave weavers and dyers and designers new opportunities to show their skills.
Western clothing follows the body line in a sculptural way; the kimono is meant as a one-size-fits-all garment in which gender matters, but size and shape are largely unimportant. Whatever the wearer's height or weight, a kimono is made from one bolt of cloth cut and stitched into panels that provide ample surface for decoration.
Regional styles proliferate. Kyoto's Nishijin-ori silk brocade is as sumptuous as a Japanese textile can be. Okinawa produces a variety of stunning fabrics; one, called bashofu, is made of plantain fiber threads, dyed and woven in intricate motifs, and feels like linen. Kyoto's and Tokyo's stencil dyeing techniques yield subtle, elegant geometric patterns and motifs from nature. Kanazawa’s Kaga yuzen paste-resist dyeing on silk is famous for its flower and bird motifs, in elegant rainbow colors.
The used kimono you often see in Kyoto or Tokyo flea markets can be bargains. Also look for lighter-weight yukata (robes), obi (sashes), or handkerchiefs from Arimatsu, near Nagoya, for example. Good introductions to these craft traditions can be seen at Kyoto's Fuzoku Hakubutsukan (Costume Museum) and Nishijin Orimono (Textile Center), and the Edo period dress collection in Tokyo’s National Museum.
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