Get Free Ebook The Unknown Craftsman: A Japanese Insight into Beauty
Get Free Ebook The Unknown Craftsman: A Japanese Insight into Beauty
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The Unknown Craftsman: A Japanese Insight into Beauty
Get Free Ebook The Unknown Craftsman: A Japanese Insight into Beauty
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Review
"Yanagi pinpoints qualities of 'true' beauty with an authority that hardly allows us to differ. As does Solzhenitsyn, he feels that beauty is a real entity and not different from truth." —Craft Horizons"This book is a quiet manifesto for the preservation and enhancement of crafts." —Washington Post
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About the Author
S?ETSU YANAGI was born in Tokyo in 1889 and graduated from the literature department of the Tokyo Imperial University in 1913, majoring in psychology. Proficient in English and with a deep feeling for art, while still a student Mr. Yanagi became associated with the Shirakaba ("Silver Birch") literary group, to which he was partly responsible for interpreting Western art to Japan.In 1921, he completed the organization of a Korean folkcraft museum in Seoul, and, in 1936, the present Japan Folkcraft Museum in Tokyo was completed through his efforts.Mr. Yanagi traveled widely in the Orient, Europe, and America. In 1929 he lectured at Harvard University for one year. In Japan, sometimes in the company of the potters Kanjir? Kawai, Sh?ji Hamada, and Bernard Leach, he sought out anonymous craftsman of all kinds throughout the country and encouraged their work. He also wrote prolifically and profoundly on all aspects of aesthetics, finding his inspiration in Japanese and Oriental folkcraft and folk culture. His personal collection of folkcrafts is the nucleus of the Japan Folkcraft Museum collection. Mr. Yanagi died in Tokyo in 1961.The Adaptor, BERNARD LEACH today is known as one of the world's greatest potters. His numerous books are familiar to everyone interested in modem crafts. Mr. Leach first came to Japan at the age of 22, in 1909, met the Shirakaba group and soon became an intimate friend of S?etsu Yanagi. It is difficult to say which of the two men influenced the other the more. In Mr. Yanagi's own words, "Leach came to Japan... full of dreams and wonder.... It is doubtful if any other visitor from the West ever shared our spiritual life so completely". This volume is Mr. Leach's tribute to his friend of fifty years standing.
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Product details
Paperback: 232 pages
Publisher: Kodansha International; 1 edition (June 21, 2013)
Language: English
ISBN-10: 1568365209
ISBN-13: 978-1568365206
Product Dimensions:
7.1 x 0.7 x 9.5 inches
Shipping Weight: 1.4 pounds (View shipping rates and policies)
Average Customer Review:
4.8 out of 5 stars
35 customer reviews
Amazon Best Sellers Rank:
#159,233 in Books (See Top 100 in Books)
For those who know of the Arts and Crafts movement in the West, think John Ruskin and William Morris. Both influenced Yanagi Soetsu through their writings. In terms of Japanese culture and aesthetics, this is a landmark text, complete with many photos. Yanagi Soetsu was part of the Mingei movement. This can roughly be construed as the Japanese equivalent to the Arts and Crafts movement with a heavy Buddhist influence. Mingei refers to art of the people. The singular, often unknown craftsman, is trumpeted. Yanagi Soetsu emphasizes intuition, which takes in the whole, as opposed to intellect, which takes in only part. The perfect is rejected as static and unable to suggest the infinite. If you read only one book on Japanese aesthetics let it be this!
In this book, industrialization and mass production get a tongue lashing, as one would expect from a writer devoted to preserving hand craftsmanship and traditional art forms. I found the book enlightening and thought provoking. The first chapters are about the author's creation of a craft museum in Japan, which while somewhat interesting, discouraged me about the main direction of the book. But subsequent chapters about pattern in art and craft, and about the beauty of irregularity, encourage me to keep reading. I found the most interesting chapter to be the one about the Buddhist idea of beauty. The idea that beauty and ugliness are essentially the same thing is a difficult one to wrap my Western head around. There is depth in this chapter, and I expect to re-read many passages that I highlighted. Much of the focus of the book is on pottery, but other crafts and art forms get their mention, too. Much of the writing is about aesthetic concepts and principles that encompass all arts and crafts. In a single section at the front of the book are numerous photographs of bowls, textiles, hand painted scrolls, and other items, which are referred to in the text. The text is written in a clear and uncomplicated manner, with some inserted clarifications and explanations by Bernard Leach.
Ostensibly a book about pottery making but really about so much more. Despite the sexist title, Yanagi has much to say to anyone who cares about what is considered beautiful in the world. One of the traditional Japanese definitions of beauty involves appreciating craft/art done unselfconsciously. Yanagi risked his life during WWII to preserve such folk pottery in his craft museum in Japan. The book has much to tell us about the connections between the worlds of things 'born' and things made. A classic in identifying and defining the differences between traditional Eastern and Western ideals. Read it for an awakening. A book to be reread at different times in life.
A well written book that inspires one to think of (look at) objects in a different way, for me it has me pondering the work I do in a different way.While I still have the critical side this book has been a help in defining which criticism is of value and which is ultimately just a "voice" in my head.What is perfect is a such a subjective and therefor fleeting notion with regard to art and craft it should not be the driving force in anyone's desire to create and/or collect art/craft[s].
I purchased this book after reading an excerpt about pottery. The book is indeed about pottery but also offers insights into what the author sees as the potters frame of mind. This was an unexpected treat for me. As a student of various Asian philosophies, I love this author's description of how the "seeing" of the artist coincides with many of these philosophies and perhaps surpasses them.
My interest is woodwork that is made within the traditions of Japanese woodworking techniques though not necessarily replicating traditional Japanese designs or style. While I have been happy with the aesthetics of objects I've been making, I haven't really understood the sometimes muted reactions from some of my Japanese friends. I've been to Yanagi's Folkcraft Museum in Tokyo and to a museum to the work of Kanjiro Kawai (a close friend of Soetsu Yanagi) in Kyoto and so have first hand experience of the pottery and woodwork objects that have inspired or been made by these men. However, it was only when I read "The Unknown Craftsman" that I was able to fully appreciate and to attempt to translate into my own work, Yanagi's "insight into beauty". From the book, it is apparent that Yanaki had a broad exposure to both Japanese and Western culture and philosophy and as a result, I feel that the principles that Yanagi describes are as applicable to western craft objects as they are to those of Japanese origin.
looking for the quiet beauty, unpretentious, the "just-there" presence in artifacts? it starts with the maker embodying those humble qualities. really well-written...
As a person who loves Japanese ceramics I was glad to have this classic book. It helps the reader appreciate the beauty of the simple. The love of clay and the transformation that comes through fire shines through. I felt the admiration that Mr Leach had for Mr. Yanagi, as well as his love for the craft and the Japanese aesthetic. Although I do love the Japanese porcelains with their beauty, my heart is moved more by what the Japanese call "wabi-sabi" or what westerners might call rustic. This is a lovely book, very Zen!
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