Panel Discussion

Questions and Answers(2/2)

TANAKA ───── Actually, after the assessment ended, I felt that there weren’t many items submitted to begin with. Currently, people are drawn to things that are anonymous, things that lack self-expression or the ‘ego’ of the creator, which is why folk crafts (Mingei) are so popular. At the same time, while there are many people making excellent vessels in the lacquer world, it may be that they no longer suit this exhibition format. This exhibition is divided into Art and Design, and as for how ‘Design’ is defined, the application guidelines have a very short comment saying, “items capable of being produced systematically,” but there are various ways to think about it. When I was young and submitted to this exhibition, there was furniture, and modern furniture and vessels were sought after, so I believe there were more vessels submitted then, and the scale of the works was larger. However, as times change, what we seek from lacquer, our ways of thinking, our values, and our thoughts, also change according to the state of society.

Even now, many people make vessels and they are popular, but as we remarked while chatting after the assessment, we felt they were few. Personally, I would like to see good lacquer vessels. Even with the shape of a bowl, many universal, excellent forms exist, but a good vessel cannot be made unless the craftsman has the intent to make something good for that specific era – in the coating, the form, the small details of the base (kodai) or the rim. To digress a little, when discussing Mingei, the conversation often tends towards ethical or ideological directions, but in any era, whether one is a craftsman or an individual artist, aesthetic sense and technique are ultimately about the state of the creator. Without that, nothing good is born, so in that sense, I want to see the vessels of this current era.

However, in an exhibition like this, one inevitably becomes conscious of visual impact, and daily-use vessels tend not to stand out and can be unsuited to the format. It may be necessary to reconsider the nature of the exhibition itself, not just for the Ishikawa International Urushi Exhibition. It shouldn’t just be about dividing items into Design and Art. It is not just a problem for the applicants, but also for the organizers. I believe this is related to how we consider lacquer in the current era and society.

MITARAI ───── I would like to speak briefly from my position of having handled vessels for a long time. Lacquer vessels make whatever is put in or on them look overwhelmingly beautiful and delicious. In our gallery, we sometimes serve wine and light snacks in the evening, including overseas guests; while the glasses are glass, everything else we use is lacquer. Anything you put on them looks delicious, and they are light and easy to handle. I don’t think they are that difficult to manage. It might be preaching to the choir, but they can be washed normally with neutral detergent. The French, for instance, absolutely love lacquer vessels. I know many people who are desperately looking to buy them. With the current influx of tourists, many places are serving food in lacquerware. I am quite optimistic. What do you think?

SHIHO ───── To move away from vessels for a moment, as Buddhist altars are disappearing, I feel there is high marketability for things that exist within daily life and represent a casual sense of prayer, as I mentioned in my comments.

Also, lacquer spoons are very well-regarded for being pleasant against the mouth, and such items were submitted this time as well. It’s about the sense of touch. For instance, holding something in your hand can bring a great sense of security. Whether it is a vessel or a small object without a specific use, holding it can bring peace to the soul. Lacquer and decoration are not cheap, so we must plan items for which a certain price can be charged, and I believe such things are needed.

Shinya YAMAMURA ───── I believe the question was about the prospects of submitting vessels to an exhibition like this. Listening to everyone’s thoughts, I feel there is great potential for lacquer vessels in terms of their use. On the other hand, when it comes to an exhibition, perhaps something else is required. I wonder what that is? Since everyone already understands the beauty of traditional lacquer vessels, it would be amazing if a work could show us something that hasn’t been seen before. In that sense, I hope those making vessels will consider how much potential there is and present that to us; it would be so exciting for us, and I think the creators themselves would find their own identity in doing so. I believe the Gold Prize-winning work in the Design category, which I critiqued, was a vessel where one could feel exactly that.

NATSUME(MC) ───── Thank you. Is that sufficient?

Questioner 1 ───── Thank you all for your detailed answers. I have received many helpful suggestions, and I will use them to challenge myself again next time.