Japanese Modernisation and Mingei Theory: Cultural Nationalism and Oriental Orientalism

前表紙
Routledge, 2004/07/31 - 328 ページ
Conceptualised in 1920s Japan by Yanagi Sôetsu, the Mingei movement has spread world wide since the 1950s, creating phenomena as diverse as Mingei museums, Mingei connoisseurs and collectors, Mingei shops and Mingei restaurants. The theory, at its core and its adaptation by Bernard Leach, has long been an influential 'Oriental' aesthetic for studio craft artists in the West. But why did Mingei become so particularly influential to a western audience? And could the 'Orientalness' perceived in Mingei theory be nothing more than a myth? This richly illustrated work offers controversial new evidence through its cross-cultural examination of a wide range of materials in Japanese, English, Korean and Chinese, bringing about startling new conclusions concerning Japanese modernization and cultural authenticity. This new interpretation of the Mingei movement will appeal to scholars of Japanese art history as well as those with interests in cultural identity in non-Western cultures.
 

目次

The foundation of Mingei theory
1
2 Appropriation of Orientalism
43
3 Oriental Orientalism
123
The development of Mingei theory into national and international Modernism
197
Conclusion
243
Notes
247
Bibliography
273
Index
299
著作権

他の版 - すべて表示

多く使われている語句

著者について (2004)

Yuko Kikuchi is a Research Fellow in Art and Design History at the London Institute, Chelsea College of Art and Design.

書誌情報