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.
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.
Yuko Kikuchi is a Research Fellow in Art and Design History at the London Institute, Chelsea College of Art and Design.
Inhaltsangabe
Part I - Orientalism: The Foundation of Mingei Theory Yanagi's Claims to Originality I.1. The Oriental-Occidental Hybrid of Philosophy and Religion I.2. Utopian Colonism, Primitivism and Orientalism I.3. 'Art of the People' and Medievalism: Ruskin, Morris and Japanese Peasant Art Movements I.4. Japanese Tea Masters Part II - Appropriation of Orientalism II.1 The Formation of Mingei Theory II.2 Modernity and Japanese Cultural and National Identity Part III - 'Oriental Orientalism' III.1 The Creation of 'Others' and Oriental Orientalism III.2 Korea: The Beauty of Sadness III.3 The Okinawans and the Ainu III.4 Taiwan and Northeast China/Manchuria III.5 Yanagi's Oriental Orientalism Part IV - Reverse Orientalism: The Development of Mingei Theory into National and International Modernism IV.1 Mystification of Mingei in Zen Buddhist Aesthetics IV.2 Mingei as Modern Visual Representation of Tea Aesthetics IV.3 Mingei Theory for Studio Crafts IV.4 Mingei for National Design: The Mingei-style for 'Japanese Modern' Design and Kurafuto IV.5 The Foundation and Deconstruction of the 'Leach Tradition' for the British Studio Craft Philosophy
Part I - Orientalism: The Foundation of Mingei Theory Yanagi's Claims to Originality I.1. The Oriental-Occidental Hybrid of Philosophy and Religion I.2. Utopian Colonism, Primitivism and Orientalism I.3. 'Art of the People' and Medievalism: Ruskin, Morris and Japanese Peasant Art Movements I.4. Japanese Tea Masters Part II - Appropriation of Orientalism II.1 The Formation of Mingei Theory II.2 Modernity and Japanese Cultural and National Identity Part III - 'Oriental Orientalism' III.1 The Creation of 'Others' and Oriental Orientalism III.2 Korea: The Beauty of Sadness III.3 The Okinawans and the Ainu III.4 Taiwan and Northeast China/Manchuria III.5 Yanagi's Oriental Orientalism Part IV - Reverse Orientalism: The Development of Mingei Theory into National and International Modernism IV.1 Mystification of Mingei in Zen Buddhist Aesthetics IV.2 Mingei as Modern Visual Representation of Tea Aesthetics IV.3 Mingei Theory for Studio Crafts IV.4 Mingei for National Design: The Mingei-style for 'Japanese Modern' Design and Kurafuto IV.5 The Foundation and Deconstruction of the 'Leach Tradition' for the British Studio Craft Philosophy
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