An Open Letter to the Late Soetsu Yanagi

Dear Mr. Yanagi,

People say that reading is like a conversation between you and the writer. I wasn’t so sure about this because the experience of reading was, in my view, more like a one-way conversation.

After reading many of your essays compiled in The Way of Crafts: Origin of a Century of Japanese Aesthetics — a book that has been sitting on my shelf for over five years now — I can’t help but write to you in the hope that you could get to know some of my thoughts, too.

As a designer and an art history graduate myself, I often found myself fascinated by the diversity of craftsmanship and, especially, the so-called ‘traditional craft’. In general, it is not so much the end product that interests me but, rather, the process itself — notably the makers’ pursuit of perfecting their crafts through repeating the same action, day after day. Though invisible to the naked eye, that strong sense of determination is heartfelt and deeply engrained in the objects they make.

I seem to be attracted to ancient objects more than modern or contemporary production. “They must have survived up to this day for a reason”, so I thought. Yet, if it wasn’t for your writing, I would’ve still been puzzled by this passion for artefact which I have developed since I was little.

In an essay where you discussed about the beauty of ordinary everyday objects ( zakki), you pointed out that their sole purpose is to be in service of the people. One of the characteristics that made these objects beautiful — in your view — is that they can be used on a day to day basis, withstanding the test of time. The solidity and utilitarian nature of these objects, which you referred to as ‘folk craft’ ( mingei), owes their beauty to common folks who worked together side by side in this collaborative endeavour.

What strikes me the most, however, is when you mentioned that it was the makers’ lack of intention that led to the birth of these beautiful objects. Contrary to these ‘intention-less’ makers is the individual who, more often than not, ended up creating something that is considered as ‘artistic craft’ instead of ‘true craft’.

Clearly, Mr. Yanagi, your keen observation and unique point of view on the development of craft in Japan was made during your time, but would you be surprised if I were to tell you that this very phenomenon is prevalent in today’s world.

The Way of Crafts: Origin of a Century of Japanese Aesthetics by Soetsu Yanagi

At a time when individualism is the mainstream and that the boundary between art and craft seems to have dissolved, what measure can we possibly take to restore that demarcation? I agree with you that individualism in craft — often expressed through painted or sculpted decoration on the surface of an object — can perhaps blind the nature of craft itself, but can we not come to terms with this new direction into which craft has evolved? Does being artistic and creating craft always have to be two separate paths? That being said, I would encourage artists and craftsmen alike to venture the possibility of serving a much wider audience with their creation. No matter what meaning lies behind their creation, it is crucial that their work is accessible to the public and speaks to more than just collectors or connoisseurs.

I’m particularly touched by the respect you hold towards nature. Be it art or craft, I couldn’t agree with you more that one must never overlook the power of mother nature who enabled us to create our crafts with an abundance of resources. Would ceramics even exist if it weren’t for the clay extracted from the earth on which we stand? Can we still freely draw and paint on paper to show off our creativity if it weren’t for the pulps made from the trees that took years to grow?

In today’s world where most people don’t have the opportunities to learn and appreciate the gifts that nature has given us, how are we to remind the public that we must always remain humble, and be thankful of the fruits we’ve been offered? If artists and creators alike become conscious of nature’s greatness, would self-expression still dominate their creative work?

In my view, it is only when humans become aware of nature’s loving and selfless attributes can they cease to exhaust natural resources in serving their own. Perhaps when the time comes, creative individuals will start to reflect upon the purpose of their works and how they can be of service to the society at large instead of the individual self.

Yours truly,
Shaopeng