Living National Treasure in Japan

One of the thoughts that crosses our minds as artists on more than one occasion is, I will be recognized for my work, for my contribution to culture, for the techniques I propose, etc. It is a concern that is often accompanied by the economic uncertainty that is usually linked to the arts, or in the best of cases, that harasses the artist, leading him to a constant conflict between his creative proposal and market demand.

How many great artists died without being recognized for their work, without experiencing the pleasure of wonder in the faces of the public, without reaping the achievements of their effort and dedication. This can be aggravated when it comes to artistic creators in disciplines that are not “fashionable”, that are outdated, that are often underestimated.

In an effort to keep these arts alive, a source of traditional Japanese culture that pushes new local artistic currents, the Japanese government established a law in 1950, to grant the title of Living National Treasure (人間国宝: Ningen Kokuhō ) to artists or artistic groups of the highest level and dedication, which includes an annual payment of 2 million yen (20,000 dollars approx.) to release part of the economic burden of said creators. To be sure, this doesn’t solve every creative, expressive, or financial problem creators may face, but it’s definitely a welcome help. It allows artists to dedicate themselves with some freedom to what they want, to have an exposure in the media for the honor received, and in a certain way, to know that there are people who are noticing their work and quality.

Annually, the Japanese government pays a total of 232 million yen into this initiative. The places for Living National Treasure are for life, that is, once the title is granted, it cannot be removed. At the same time, there is a limited number of places, with a maximum of 116, of which 111 are currently occupied. Since the beginning of this law to date, 371 artists have been named Living National Treasures.

Previously, until 1944, there was a title granted by the Imperial House of Japan, called Artists of the Imperial House (帝室技芸員, Teishitsu Gigei-in ), which was discontinued at the end of World War II. It was an initiative that undoubtedly kept many traditional arts alive for hundreds of years, but from which the nobles and high-ranking military benefited almost exclusively, with most of the benefited artists being direct workers in the Imperial Palace with internal decoration tasks. . The new law brought traditional art and culture back to the people.

Under this law, there are three different types of certification

Individual Certification (各個認定, Kakko Nintei ): This category is for individuals who have “achieved a high level of proficiency” in an art or craft. It is the people in this category that are commonly referred to as Living National Treasures.

Collective Certification (総合認定, Sōgō Nintei ): this category is used for groups formed by 2 or more people in the same project and that the group (or its members) reached a “great level of improvement” in an art or craft. Normally used for groups dedicated to music or drama; performing arts in general.

Group Certification for Preservation (Cultural and Artistic) (保持団体認定, Hoji Dantai Nintei ): this category is usually used for large groups in which quality and perfection is not emphasized in one person but in the collective. This is usually more common in the realization of craft works (making kimono, etc.)

Intangible Cultural Property of Japan

A fundamental condition to receive the title of Living National Treasure of Japan, is the area in which it is developed. These disciplines are called Japan’s Intangible Cultural Property (無形文化財, mukei bunkazai ), and refer to the skill (technique, artistic expression, etc.) of the creators of arts of great historical value in music, drama, and crafts (crafts ). It is important to emphasize that it is about the skill of the artist and not about the product or final result. Therefore, as an example, the Intangible Cultural Property would not be a Kimono, but the skill and techniques used to make it. In this sense, the value is given to the person, the artist, their effort and dedication, and not to a product.

Within the disciplines that make up the Intangible Cultural Properties of Japan are Noh theater with all its aspects, Gagaku music, Bunraku with its aspects, Kabuki theater, an immense number of traditional genres of music and dance, ceramic handicrafts, textiles, wood and metal work, etc. Basically, the traditional arts and crafts of Japan.

As you might imagine, this has contributed to the spread and preservation of traditional Japanese culture, which is constantly at risk of being diluted within the rapidly changing modern society. A social transformation is necessary for progress and adaptation to current problems, but it is not possible to live in the moment, nor plan the future, without considering the past.