Written on October 9, 1991 [Permalink]

October

The Fall newsletter went out in mid-October, about a month behind the nominal schedule. This was no consequence of Michiyo being in Canada, but the fact that I didn't start writing it until early September. She sent back the translations by fax, and I got them punched in without problem, but the editing took much longer than normal, having to rely on Sakazaki-san and Ashida-san for repeated re-reading and advice. The Winter issue was much less problem. I did my bit quite early, Michiyo finished quickly, and I managed to get to the printer in early December. Photos were a problem. I wanted to get some pictures of carvers and printers working in groups, and knew that the only place in Tokyo I could get such pictures was in Adachi's workshop, so I made a long-delayed, much put-off visit.

I hadn't seen him in about seven years, since the visits on our trips from Canada, the final one during which I over-stayed my welcome, and had been asked to leave. But it turns out that he has been in touch with my work, by seeing Shimano-san's copies. I have mixed feelings about his comments. There was no praise at all, which is as it should be, from the guy who seems to hold the position of 'preserver of top quality ...', but I had rather expected some expression of support for what I was doing, if not for how well I was doing it. Nothing. I didn't get any criticism either, just a kind of 'neutrality'. He wouldn't let me take photos, and didn't 'let' me upstairs to see the workers (some of whom I possibly know from Kumiai meetings). I had tried to explain about the upcoming newsletter, and the upcoming article on 'shokunin', but he didn't think much of my ability to understand anything of their world.

Just at the end of the meeting, he offered the comment that my prints were 'teinei sugiteru', a phrase which I misunderstood at the moment as a compliment. When I mumbled something and looked pleased, he shook his head, "No, no", and gave up trying to offer anything else. I have thought a lot about that phrase since that meeting. I had shown him one of my prints side-by-side with a photo of the original (Ryozen Hoshi). This original is quite roughly printed, with brush/baren streaks running everywhichway. Mine is at least neatly printed, if somewhat inexpertly. He prefers the original. Now there's no way that I think work done that sloppily should be considered in any way acceptable, but what Adachi is thinking is more important, is the kind of speedy, brash confidence that the old printer must have had.

This seems to be at the core of 'shokunin-ness'. When a westerner thinks about a 'craftsman', he imagines someone hunched over the work, slowly, delicately, ever-so-slowly, creating the masterpiece. This is the mold I fit, but it seems to be antithecal to the Japanese idea, which involves a craftsman so absolutely in control of everything, that he can basically work without even looking at what is going on, and as quickly as possible. I have to admit, Matsuzaki-san simply roars along at full speed ahead, and the work is wonderful, but it would be interesting to see him doing something that needed more delicacy and finesse than his usual Xmas cards. Could he do the fine stuff with the same seemingly casual attitude? 'Teinei sugiru'.... We'll have to do some thinking about that!

Recent P/R has included another three page magazine feature, this time in the unknown 'Sansara', which I was unable to locate at any of the local bookstores. Nothing came of this one, but I managed to get Shimano-san's photo in there also. He's also going to be featured in the Mainichi Ichi no Ichi story in December. I hope he understands that he means a lot to us! There were also 'phone interviews' with the Sankei Shimbun, one from the Tokyo office, and one from Osaka.