The unknown craftsman
One of my heroes, Sōetsu Yanagi (1889–1961), was the author of the conception embodied in the book, The Unknown Craftsman: A Japanese Insight into Beauty. It was adapted into English by my hero, the potter Bernard Leach, in 1972 — a year when I actually visited Japan and at last became fully aware of the little town of Mashiko. This in turn was the location of the kama, or family kiln, of Shoji Hamada, yet another of my Japanese heroes. Yanagi’s son, Sori Yanagi, became an industrial designer, just like, and for the same reason as my father, James Warren in Canada, whose love of Japanese objects and fine craftmanship was communicated to me in early childhood. Indeed, let me close this circle before it becomes any wider.
Yanagi was the spiritual founder of the (Buddhist) Mingei movement in the 1920s, a term he invented for the art of everyday people. My papa acquired similar ideals from a Minnesota book, by Harriet and Vetta Goldstein, published in the ‘twenties, which I mentioned two years ago in this space. And through reading many other authors we may trace their mission of simplicity and craft back through the Middle Ages, both in the East and the West.
This movement is not the sort of thing to be managed by a bureaucracy, like those of government and big business, both of which instinctively ignore it, or worse. Too, it is not a philosophy, unless on Yanagi’s terms, for his philosophy did not entail formulaic, literate ideas. The craftsman in both hemispheres cannot organize themselves, because they are instinctively anonymous. Their standard of beauty is unregulated, because drawn exclusively from nature and made from nature’s materials. It does however tend to demand strict craftsmanship, not “flashy” except for the absence of commercial flash.
It speaks to us through patterns, which we can see and know, for the things that are made are not intended to make the craftsman famous, or even rich. They are designed only to be useful, and to last.
The Beauty of Everyday Things was the title given to the latest translation of this work, mass-produced for Penguins last year.
“Hands to work and mind to God,” was how it was expressed by my papa’s beloved Shakers. Their works were also unsigned.