Japanese Modernisation and Mingei Theory

Cultural Nationalism and Oriental Orientalism

Nonfiction, Social & Cultural Studies, Social Science, Cultural Studies, Ethnic Studies, Anthropology
Cover of the book Japanese Modernisation and Mingei Theory by Yuko Kikuchi, Taylor and Francis
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Author: Yuko Kikuchi ISBN: 9781134429554
Publisher: Taylor and Francis Publication: July 31, 2004
Imprint: Routledge Language: English
Author: Yuko Kikuchi
ISBN: 9781134429554
Publisher: Taylor and Francis
Publication: July 31, 2004
Imprint: Routledge
Language: English

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.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

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.

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