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British Museum Exhibition: Crafting Beauty in Modern Japan

Celebrating Fifty Years of the Japan Traditional Art Crafts Exhibition

(19 July - 21 October)



June 2007

 

The British Museum is planning to hold the above exhibition from 19 July until 21 October 2007. JICC recently conducted an interview with Timothy Clark, Head of the BM Japanese section. This exhibition is supported by the Embassy of Japan.

 

 

What is the background to this exhibition?

 

Japan has a long tradition of making, using and appreciating beautiful craft objects and this tradition is closely integrated into people��s lives. A respect for the beauty of these objects and the materials and techniques used to create them is embedded in Japanese social attitudes and culture. This exhibition celebrates the best of the last fifty years of the annual ��Japan Traditional Art Crafts Exhibition��, with each of the 112 works created by a different leading artist, past and present. It has been adapted from the show ��Waza no bi�� which successfully toured Japan in 2003-4 and which I viewed with much admiration in Kyoto. Many of the artists have been designated by the Japanese government as ��Living National Treasures��, holders of important craft skills. Their works represent some of the best art crafts, both traditional and ultra-modern, to have been produced in Japan during the last half century, since the annual exhibition began in 1954. Most of the pieces are on loan from The National Museum of Modern Art, Tokyo, The National Museum of Modern Art, Kyoto, and the Agency for Cultural Affairs in Japan. The exhibition is supported by The Japan Foundation and planning support has been given by Asahi Shimbun. At all stages in the project we have worked closely with Dr Nicole Rousmaniele, Director of the Sainsbury Institute of Japanese Arts and Cultures, who has assisted me as guest curator and editor of the catalogue.

 

 

Would you introduce to us the contents of the Japanese art crafts exhibition?

 

The British Museum exhibition will be divided into six sections, each featuring a different medium: ceramic; textile; lacquer; metal; wood and bamboo; and other crafts (cut metal foil, glass, dolls). In addition, a small display of pre-modern craft objects from the British Museum��s own collections will provide context for the contemporary pieces.

 

Japan has one of the oldest ceramic cultures in the world yet identified, dating back to 14,500 BC. Contemporary ceramic expression in Japan is deeply interwoven with local traditions and varies from ��Genesis��, a highly refined porcelain bowl with vivid, glass-like coloured glazes by Tokuda Yasokichi III to a rugged stoneware rectangular plate in black Bizen style made by Isezaki Jun.

 

 

Bowl, 'Genesis' (Sosei), porcelain with vivid coloured glazes (yosai) by Tokuda Yasokichi III, 1991
Bowl, 'Genesis' (Sosei), porcelain with vivid coloured glazes
(yosai) by Tokuda Yasokichi III, 1991

 

 

Textile art is perhaps the most compelling of all Japanese art forms and historically has always been at the cutting edge of design - literally, the works are wearable art. The kimono ��Melody�� by Matsubara Yoshichi with its pulsating design of fans scattered all over the wearer��s body, is a very modern adaptation of the traditional technique of indigo stencil dyeing. Textiles are the major area in contemporary Japanese craft expression where women artists are gaining a high profile, as seen in the woven silk kimono ��Path Leading into the Woods�� by Murakami Ryoko.

 

 

Kimono, 'Melody' (Senritsu), indigo stencil dyeing on silk by Matsubara Yoshichi, 1968

Kimono, 'Melody' (Senritsu), indigo stencil dyeing on silk
by Matsubara Yoshichi, 1968

 

 

Lacquer work, urushi in Japan, is the most time consuming and technically difficult of all the arts in East Asia, and is perhaps the most prized of all the craft media. Recently examples of lacquer wares have been discovered in Japan that may date to as early as 7,000 BC. Kuroda Tatsuaki��s compelling ornamental red lacquer box with flowing design is a perfect example of the miraculous visual and textural properties of lacquer ware.

 

 

Ornamental box in a flowing design, lacquer on wood using red lacquer (sekishitsu) by Kuroda Tatsuaki, 1957
Ornamental box in a flowing design, lacquer on wood using red lacquer
(sekishitsu) by Kuroda Tatsuaki, 1957

 

 

There is currently a growth in new styles of expression in metalwork and this represents some of the most daring decorative arts in Japan today. Examples include Osumi Yukie��s vase ��Sea Breeze�� in hammered silver and Nakagawa Mamoru��s vase with inlaid stripe design in copper and silver alloy.

 

Wood and bamboo are venerated materials in Japan, closely integrated into daily life. Bamboo in particular has recently gained cult status and is collected widely outside Japan. Katsushiro Soho��s basket ��Shallow Stream�� in split bamboo technique is an exquisite example of a work which is both functional and beautiful. Wood has always been a material of choice for sculptors in Japan and in many cases is worked laboriously by artists polishing, burning or inlaying to produce supreme examples of their craft. Nakagawa Kiyotsugu has used ancient sacred cedar wood in a complex mosaic inlay technique to decorate his square box.

 

The exhibition concludes with glass-making and dolls. Dolls have a long tradition in Japan and are much-loved. Recently many character dolls have been developed. ��Eguchi�� by Hayashi Komao brings a famous courtesan from medieval history vividly to life. Glass has an ancient but largely unacknowledged history in Japan. New types of Japanese glass design are at the forefront of innovation, but this is not part of the Living National Treasure system. Intriguing works include Ishida Wataru��s covered container made in pate de verre, ��White Age (Age 99)��.

 

 

Finally, would you tell us about recent developments in the British Museum��s Japanese Galleries?

 

The British Museum��s Japanese Galleries have recently undergone a major refurbishment. The new display ��Japan from prehistory to the present�� is a sequence of important stories told by fascinating objects. The display is chronological, with modern works occasionally brought back into the historical narrative. Paintings, prints and other light-sensitive works are rotated three times a year (in mid-February, mid-June and mid-October), but the overall layout of the gallery is permanent. The displays reconnect the history of Japan with East Asia and, in more recent times, with the wider world. The section ��Modern Japan�� includes major ceramic pieces made by some of the Living National Treasure artists also represented in ��Crafting Beauty in Modern Japan��. In addition, we shall be staging a small but innovative exhibition ��Ikebana:Living Flowers of Japan�� (5 July - 19 August 2007) in Room Three just inside the front entrance of the Museum, as one of the ongoing sequence of Asahi Shimbun displays. Members of Ikebana International will create for us seven consecutive flower displays, arranged in a large Bizen ware jar made by ceramic artist Fujiwara Yu (1932-2001). A work by his father Fujiwara Kei (1899-1983) is included in ��Crafting Beauty��. I can��t wait to see these beautiful living flowers in a ceramic vase made by a Living National Treasure.

 

 

Crafting Beauty in Modern Japan Events programme

 

 





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