The Mingei (Japanese folkcrafts) movement is arguably the most influential modern craft/design movement in modern Japan, and has been influential on the studio craft philosophy in the West, in particular in the UK, through Bernard Leach’s adaptation. Nevertheless, Mingei studies in the past have tended to be largely uncritical and have often focused on the uniqueness of the ‘Oriental’ aesthetic philosophy from a very parochial perspective without any contextual reference to Japanese modernisation and colonisation.
This monograph examines the nationalist discourse of Mingei theory developed by Yanagi Sōetsu in the 1920s from post-colonial cross-cultural perspectives, and deconstructs its myth of cultural ‘authenticity’, presenting new evidence of colonial implications by utilising various Japanese, Korean, Chinese and English historical documents.
It covers the topics such as the ‘hybridity’ of Mingei theory and constructed ‘Orientalness’; the activities of the Mingei movement during the Second World War; Yanagi’s involvement in Japanese peripheries and colonies alongside colonial representations of ‘Other’; Mingei and post-war Japanese design in the context of the international ‘Good Design’ movement; and the influence of Mingei theory on the West and the cultural politics of inter-cultural representations between the East and the West.
A paperback edition of this book has also been published in May 2006.
|Type of Research:||Book|
|Your affiliations with UAL:||Research Centres/Networks > Transnational Art Identity and Nation (TrAIN)|
Colleges > Camberwell College of Arts
Colleges > Chelsea College of Art and Design
|Related Websites:||http://www.transnational.org.uk, http://www.culturalprofiles.net/japan/Directories/Japan_Cultural_Profile/-6093.html|
|Deposited By:||INVALID USER|
|Deposited On:||07 Dec 2009 12:59|
|Last Modified:||22 Jul 2014 18:00|