View allAll Photos Tagged ThreeMusketeers
unrecorded maker, probably Tohoku
cotton quilted with cotton thread
Literally meaning 'little stabs', sashiko is a method of sewing together one or more layers of cloth with running stitch. Used to reinforce fabric to make it warmer and last longer, the technique is characterised by distinctive stitching patterns, of which three are visible here. This garment's excellent condition suggests it was not worn for farm work, complicating Yanagi's judgement that folk craft's beauty was always connected to its use.*
From the exhibition
Art Without Heroes - Mingei
(March - September 2024)
Art Without Heroes: Mingei is the most wide-ranging exhibition in the UK dedicated to Mingei, the influential folk-craft movement that developed in Japan in the 1920s and 1930s. With works including ceramics, woodwork, paper, toys, textiles, photography and film, the exhibition incorporates unseen pieces from significant private collections in the UK and Japan, along with museum loans and historic footage from the Mingei Film Archive.
Mingei is a term coined by the Japanese philosopher and critic Yanagi Sōetsu (1889-1961) to mean ‘the art of the people’ and ascribes cultural value and aesthetic purity to traditional craft objects, unnamed makers and a simpler way of life. The exhibition considers Mingei both as a historical moment and as a set of principles that remain relevant to contemporary craft, manufacturing and material consumerism worldwide.
Like the British Arts and Crafts movement, Mingei was a response to rapid industrialisation. Mingei developed in dialogue with the work of William Morris and his contemporaries, within a specifically Japanese context that included the strong influence of Pure Land Buddhism. The exhibition also introduces the significance of Korean, Okinawan and Ainu objects to the Mingei movement, showing how these independent cultures contributed to what tends to be seen as a quintessentially Japanese aesthetic.
Divided into three parts, the exhibition starts with the 19th-century craft objects the Mingei movement looked to for inspiration. The second part of the exhibition focuses on the origin and evolution of the Mingei movement during the 20th century. Spearheaded by Yanagi, Japanese studio potter Hamada Shōji (1894-1978) and British studio potter Bernard Leach (1887-1979), it proposed an alternative to the rise of industrialism that accompanied the modernisation of Japanese society. Together Yanagi, Hamada and Leach, who described themselves as the ‘three musketeers’, championed the Mingei ideals of ‘art without heroes’, true beauty and traditional craft skills, leading a revival of interest in folk crafts.
The final section of the exhibition considers 21st-century iterations of the Mingei movement and modern re-interpretations of its core values. It shows how the term ‘Mingei’ has been reinterpreted and reclaimed by contemporary artists, including work by Theaster Gates which explores the spiritual and artistic dialogue between Black and Japanese craft traditions, a key concern of his practice.
[*William Morris Gallery]
Taken at the William Morris Gallery
Two hands on a rapier? I guess if you're going for strong arming your opponent. Once again a perfectly good parry that morphed into a "I'm gonna swish your blade around to make it look more interesting!" silliness.
Serizawa Keisuke
Silk, resist dyed and stencilled
This scroll depicts Hōnen Shonin (1133-1212), founder of Japanese Pure Land Buddhism. In contrast to the difficult path of obtaining Buddhahood through one's own efforts, Hōnen taught that enlightenment was accessible to ordinary people through the acceptance of grace from a higher power. Yanagi applied this idea to craft practice, arguing that true beauty was achieved through surrendering the self to the 'Other Power' (tariki) of tradition, repetition, and nature.*
From the exhibition
Art Without Heroes - Mingei
(March - September 2024)
Art Without Heroes: Mingei is the most wide-ranging exhibition in the UK dedicated to Mingei, the influential folk-craft movement that developed in Japan in the 1920s and 1930s. With works including ceramics, woodwork, paper, toys, textiles, photography and film, the exhibition incorporates unseen pieces from significant private collections in the UK and Japan, along with museum loans and historic footage from the Mingei Film Archive.
Mingei is a term coined by the Japanese philosopher and critic Yanagi Sōetsu (1889-1961) to mean ‘the art of the people’ and ascribes cultural value and aesthetic purity to traditional craft objects, unnamed makers and a simpler way of life. The exhibition considers Mingei both as a historical moment and as a set of principles that remain relevant to contemporary craft, manufacturing and material consumerism worldwide.
Like the British Arts and Crafts movement, Mingei was a response to rapid industrialisation. Mingei developed in dialogue with the work of William Morris and his contemporaries, within a specifically Japanese context that included the strong influence of Pure Land Buddhism. The exhibition also introduces the significance of Korean, Okinawan and Ainu objects to the Mingei movement, showing how these independent cultures contributed to what tends to be seen as a quintessentially Japanese aesthetic.
Divided into three parts, the exhibition starts with the 19th-century craft objects the Mingei movement looked to for inspiration. The second part of the exhibition focuses on the origin and evolution of the Mingei movement during the 20th century. Spearheaded by Yanagi, Japanese studio potter Hamada Shōji (1894-1978) and British studio potter Bernard Leach (1887-1979), it proposed an alternative to the rise of industrialism that accompanied the modernisation of Japanese society. Together Yanagi, Hamada and Leach, who described themselves as the ‘three musketeers’, championed the Mingei ideals of ‘art without heroes’, true beauty and traditional craft skills, leading a revival of interest in folk crafts.
The final section of the exhibition considers 21st-century iterations of the Mingei movement and modern re-interpretations of its core values. It shows how the term ‘Mingei’ has been reinterpreted and reclaimed by contemporary artists, including work by Theaster Gates which explores the spiritual and artistic dialogue between Black and Japanese craft traditions, a key concern of his practice.
[*William Morris Gallery]
Taken at the William Morris Gallery