Hugh Honour. But that is how Leencelebrated the Bicentennial in 1976 atnhis Cleveland Museum!nVisitors entering the Mingei exhibitionnwere greeted by a solemn, 51-inchngranite Buddhist sculpture of KannonnBosatsu, the most merciful and mostnpopular of Buddhist deities in Japan.nWith hands clasped together in thenBuddhist practice of greeting andnshowing reverence, eyes closed innmeditation, the elegant sculpture setnthe mood of quiet repose. Commonersnin Japan practice both Buddhism andntheir indigenous faith of Shintoism.nLike any people, Japanese commonersnalso have a sense of humor. This alsonbecame evident in a few pieces withnexaggera-ted physiognomy—works ofninnocent lampooning, one might say.nIn the low-ceilinged rectangularnmain gallery, works of art were supportednon pedestals set upon a darknfloor covering. All of the exhibits werendisplayed with immense concern fornthe overall design and visual effect.nThe isitor’s line of vision, however,nwas arrested by two glass cases locatednin the center of the gallery. Insidenthese horizontal and rectangularnshowcases, concealed lighting illuminatednsmaller works of art, somenquite familiar.nIwazaru (the ubiquitous “Speak NonEvil” monkey), for example, is a nineinchnseated simian in Japanese cypress,nbest known to most Americansnthrough cheap souvenirs importednfrom Japan before World War II. ThenIwazaru, like all other works of art innthe Mingei exhibition, was executednby anonymous craftsmen. An abilitynto economize lines without jeopardizingnforms — human, animal, orngeometric—has long been the hallmarknof Japanese folk art. In Manhattan’snkitsch shops, I have seen the latestnJapanese quartet of simians. Thenfourth monkey is a new addition: holdingnits nose, it can “Smell No Evil”!nSuch is the hilarious response of Japanesenfolk artists to the air pollution sonprevalent in their country as well asnours.nThe few suggestions of color in thenshow were to be found in the textiles,nincluding coats of firemen, the liveryncoats of workmen, and shop curtains.nUnusual, too, were the kimonosnshown here. Unmistakably coarse andnsimple, they conveyed the feeling ofnquiet dignity with which the commonnJapanese live. The earthy vitalitynfound in many of the mingei piecesnforced one to remember that the elitenin Japan commissioned a very diflFerentnsort of art, renowned for its flamboyancenand flair. Still, in charm andnsweetness, the folk art of the Mingeinshow transcended the pedestrian. Betweenn1800 and 1910,. Japanese commonersnmanaged to avoid the monotonynof uniform dress and color nownfound in so many socialist regimes.nThis is no mean achievement fornanonymous craftsmen and the commonersnwho patronized them. Boundnwithin a narrow geography, limited inntheir natural resources, drained ofntheir energy by internecine wars andnmilitary adventures abroad, perceivednsolely as entrepreneurs, the Japanesenhave lately been perceived as beingndistant and even cold.nOkame; Meiji period, I9th century.nPainted papier mache mask. Gift ofnDr. & Mrs. John Lyden. Photoncourtesy of The Brooklyn Museum.nWhat visitors garnered from thenMingei exhibition was another imagenof the Japanese, as a people relaxed,nisolated perhaps, but very much withinnthe family of man. Electricity, kerosene,nand propane, Mr. Buck declarednin his preface to the show’s catalog,nhave taken the place of wood, charcoal,nand candles. Small wonder thatnthe Japanese have had to gravitate tonthemselves as they have redefined thensubstrata of their folk art. No othernnation recognizes each leading artisticncreator as a “National Living Treas-nnnure.” Two such Living Treasuresnearned their renown through breakthroughsnin making bronze bells andnpaper.nThe commonplace in art need notnbe trite. What can be said about hownOkame, the Goddess of Mirth (seenphotograph), emerged as one of thenmost delightful characters in Japanesenfolklore? Papier-mache’, like manynother mediums, came naturally to thenJapanese craftsmen. Though devoid ofnOriental dragons and beasts, thenglazed stoneware seen in the Mingeinexhibition suggested how even jars fornstoring tea were made with the inimitablenquality of Japanese ceramics.nThe most outstanding terra-cotta onndisplay was of Karashishi, “mythicalnlion,” once used as a roof tile (seenphotograph). Having learned of lionsnonly through hearsay, the Japanesengave their fantasy free reign in depict-nKarashishi; Edo period; 19th century. Roof tile,ngray pottery. Gift of Dr. Fred S. Hurst. Photoncourtesy of The Brooklyn Museum.ning these fearsome beasts. Among thensuperb examples of mingei furniturenwas a chest of drawers on wheels,ndesigned to be easily moved in case ofnfire. Prudence aside, visitors couldnonly admire the chest’s flamelikengrain, finished to a glowing orangebrownncolor.nThe last room of the exhibition, likenthe proverbial end of a burning candle,nsuddenly came alive. Here, in anvery limited space, were Ainu textilesnand artifacts. The Ainu, whose artnbears a certain resemblance to that ofnFEBRUARY 1986139n