In the autumn of 2023, Tokyo hosted “JAPAN CRAFT”, a crafts-themed exhibition that showcased over 100 Japanese craft artists and offered a fresh perspective on contemporary craftsmanship. The venue displayed over 5,000 works, creating an immersive experience akin to a handcrafted journey across Japan. As part of the planning and research team, I spent nearly two years traveling the country and visiting numerous craft artists in their studios. Our exploration extended from Hokkaido to Okinawa, as we reached beyond well-known kiln sites and production areas. We met artists ranging from their 20s to their 80s, visiting different locales each week to observe their work and processes. I even participated in kiln firings and shared meals with them, creating cherished, familial moments.
For instance, we encountered young ceramic artists tirelessly experimenting with different soils to discover entirely new forms of expression, while woodworkers were reviving ancient shapes forgotten by history, passing down production philosophies across generations. This highlighted how materials like clay, wood, lacquer, glass, metal, bamboo, and leather each hold the unique insights and wisdom of their creators.
Our planning and research began with a simple question: “What exactly is meant by ‘JAPAN CRAFT’?” Pursuing this question helped us understand Japan’s craft scene more precisely.
In Japan, many terms describe the world of handcrafted objects. ‘Handicraft’ is a translation of ‘kogei’, but the two are not entirely synonymous. ‘Handicraft’ often refers to modern works created from free ideas, while ‘kogei’ emphasises regional traditions and techniques, expressing the value of historical accumulation. When we asked the artists how they would describe their work, their core values varied, offering fascinating explanations related to culture, land, people, materials, environment, and the works themselves.
Moreover, kōgei (工芸) is sometimes expressed as ‘kogei’ (工藝), but subtle differences exist between them. This ambiguity is difficult to articulate but reflects, to some extent, the Japanese character. For example, potters active during the Showa era used the term ‘kōgei’ to express their incorporation of traditional techniques and philosophical thought into their works. This production philosophy wavers, intertwines, and separates between design and art. This ambiguity provides space for the birth of new values and cultures, opening up possibilities for the future of Japanese object creation.
雜誌「Paris illustré」有關1867年巴黎萬國博覽會的插圖／Illustration of the 1867 Exposition Universelle in Paris illustré
Japan initially lacked the concept of ‘handicraft’. The first contact with handicrafts can be traced back to the Exposition Universelle in Paris, 1867. This was Japan’s first official participation in an international arena, coinciding with the end of the Edo period, when the country was gradually emerging from its isolation. Japan exhibited traditional crafts such as lacquerware, ceramics, swords, and textiles, receiving high praises from Europe and marking the beginning of the ‘Japonism’ craze.
As an island nation, Japan had cultivated its own unique culture. Influenced by new concepts of external art and crafts at the Exposition Universelle, Japan also re-examined its own production. Facing previously unknown overseas production trends allowed for a rediscovery of the uniqueness and value of its culture. Looking back at this historical turning point, we find much to learn.
器物製作中的過程／The crafting process, courtesy of ATELIER MUJI
In Japanese crafts, each creator’s definition of beauty differs. The creations of daily life combine practicality and aesthetics. However, the potential of these actions and techniques remains not fully understood by the world.
What creators possess are not only tools but also their views on life and reverence for nature. Japanese crafts continuously explore new possibilities between tradition and modernity. Through the passion of these creators, these elements serve as deeply rooted pillars of Japanese creativity. If they can be used to drive the legacy of the richness of Japanese culture, we would be delighted.
Tete is a space that introduces values transcending eras and countries through vessels, tools, and aesthetics. The name “Tete (掌掌)” embodies a respect for the handcrafts accumulated through the thoughts and experiences of the artists. Here, viewers can appreciate the power of artworks and the stories behind them. Each piece is not just a tool, but an existence that offers new perspectives in daily life. We are committed to rediscovering the possibilities and beauty of handicrafts, and to providing a platform connecting creators and users.
