12 Japanese Masters

by Maggie Kinser Saik
Published by Graphis, Inc., 2002.
304 pp., illus. b/w, col. Hardcover
ISBN: 1-931241-08-2

Reviewed by Rob Harle

recluse@lis.net.au

This book is a stunning showcase of the work of twelve Japanese masters of design, eleven men and one woman. One might say it is a seductive smorgasbord of visual delights.

The quality and variety of more than two hundred colour illustrations is superb. The book has an introduction, foreword, bibliography and chronology and is organised into four chapters, starting with "The Emperor of Japanese Graphic Design", Yusaku Kamekura in Chapter One. Chapter Two — "The Pioneers and Organizers", looks at the work of Kazumasa Nagai, Kiyoshi Awazu, Ikko Tanaka, Mitsuo Katsui and Shigeo Fukuda. Chapter Three — "The Internationalists", covers Tadanori Yokoo, Issey Miyake, and Eiko Ishioka. Chapter Four — "The Pragmatists", showcases the work of Toshiyuki Kita, Koichi Sato and Takenobu Igarashi.

Each designer’s work is featured separately within the chapters and begins with a personal photograph and an essay of about 1,600 words describing their background, influences and achievements. I was disappointed with the brevity of these introductory essays, poignant and informative as they are. I think they could have perhaps been, twice the length, this would have given the reader a little more substance about the designers rather than the tantalising snippets provided. The essays are moving stories about the designers and come together to tell an even more powerful overall story, which is an important aspect of the book, probably not realised at first glance.

First glance reveals wonderful colour and exceptional design — expressions of Wow! and Look.... At....That! abound. However, behind these designs is a more serious, circumspect story and that is about how Japan, like the Phoenix, rose from the ashes (literally) of WWII. Between 1945 and 1960 especially, and then to a lesser extent to the end of the century, Japan rebuilt and redefined herself under the influence of the West, particularly America. "...the older generation [of the 12 designers] believed it was their mission to "modernize" Japan, to bring design to bear on Japan’s transformation into democracy and (whether they liked it or not) American consumerism" (p. 15).

It is debatable just how much America influenced Japanese design, "... America’s influence, strong as it appears on the surface, may turn out in hindsight to have been in fact minimal. America provided only a new vocabulary for an old design ethos, which long preceded America’s influence - and will long outlive it" (p. 14).

Japan wanted to change from a pre-war agrarian society to one of "... material prosperity, affluence, efficiency and convenience" (p. 9). The keyword to describe this was "keizai seicho" (economic growth). There is a strange irony in the Japanese culture and that is, whilst they are perhaps now the world leaders in design and innovation, of everything from graphics to utensils to architecture. This design is in most cases underpinned by a deep ‘natural’ spiritual power, the antithesis of technology, gadgetry and the artificial. This comes out strongly in the individual essays, even the titles allude to this sensibility. This sensibility is partly from Japan’s ancient heritage and is continually reinforced by the unique dramatic geography of Japan herself.

For me, the work of Mitsuo Katsui, "The Emperor of Computer Graphics" as he is known (p. 116), exemplifies this duality of creative influence. His work combines the hard edged coldness of technology with its intense, shimmering colours and the softness and subtlety of feathers, butterflies and flower images. A unique blending of the material with the spiritual. Katsui is a pioneer in computer graphics, developing many new graphic art techniques, but still technology and the computer remain tools which enable him to extend "ikizama" (life’s flow).

It is evident from all the designers represented in Maggie Kinser Saiki’s, 12 Japanese Masters that Japanese design is more, much more than simply an artistic arrangement with the sole purpose of ‘flogging’ merchandise or design for design’s sake. Ishioka reminds us that designers should never forget that we can make a cup by "...simply slicing a piece of bamboo" (p. 206). It is for these reasons and the fact that Japan is primarily a visually orientated culture, due to their ideographic written language, that Japanese design is so good.

I think Alexander Kerr’s words (p. 15) capture this spirit and the essence of this book beautifully. Referring to the twelve masters — "As the last generation who drew their inspiration from Japan’s ancient culture and landscape, their work is a signpost - and a promise for the future".