야나기 무네요시의 에도정서와 전통의 현대적 변용

• 영문명: Yanagi Moneyoshi's Emotion of the Edo Period and Modern transfiguration of a Tradition
• 발행기관: 한국조형디자인학회
• 저자명: 신나경(Shin, Na-kyung)
• 간행물 정보: 『조형디자인연구』한국공예논총 제11집 3권, 1~17쪽, 전체 17쪽
• 주제분류: 예술체육 > 미술
• 파일형태: PDF
• 발행일자: 2008.09.30

영문 초록

This paper closely examines the origin and the process of the Folk Craft Movement led by Yanagi Muneyoshi(1889-1961), with a purpose of shedding a light on the aspect of the Folk Craft Movement, which has been known as transmissionism or reactionism in general, as a very modernistic cultural movement. That is, the Folk Craft Movement promoted handicraft so that it can function as a kind of cultural industry during an era when the notion of cultural industry was yet to be propagated. Yanagi’s Folk Craft Movement has been regarded as transmissionism, in that it attempted to find out a genuine relationship between "ethnicity" and "art" by examining the handicraft of local people whose everyday life has rooted on the Mother Nature, emphasizing tradition and history. However, his transmissionism or reactionism was actually initiated from the exoticism toward Edo Period that was widespread among the Japanese intellects at the time. In other words, it was originated from a sort of modern western point of view, in that the Japanese intellects who were veryaccustomed to western modernism were rather ignorant of their own traditional Edo Period culture, which resulted in a new way of viewing their own traditional culture from unenlightened eyes. Even though the Folk Craft Movement defies modernism, the movement followed a very modernistic method that was directed by Yanagi, who was conversant with modern western viewpoints. Yanagi propagated the intention of the Folk Craft Movement through printing and photographs using journalism. Moreover, he used diverse exhibition methods that came from the western culture during the Meiji Period, in order to convert a general conception of the folk craft among the masses from a traditional instrument into a new type of art. As such, in addition to art galleries and museums that were originally perceived as an exhibition space for artwork, Yanagi made a maximum use of folk museum, fair, and department store for exhibiting handicraft. Even the restaurants that used folk crafts in their operation were used as a means of life museum. The Folk Craft Movement used these spaces not only for introducing art crafts, but also for promoting consumption of culture, which contributed in establishing a field of cultural industry. While the initial purpose of Yanagi’s Folk Craft Movement was to enlighten the masses with its target at traditional beauty and morality in production, criticizing negative impacts of modernism, e.g., temporary and consumable properties, the Folk Craft Movement had actually promoted consumption of culture. In that point, the Folk Craft Movement has a significant meaning as a cultural industry model for us who are living in an era where cultural contents businesses that are equipped with entertaining, consuming, and sensuous properties subordinate everyday life of consumers into its domain.

목차

Ⅰ. 서 론

Ⅱ. 본 론

Ⅲ. 결 론

￭참고 문헌

키워드

Yanagi Muneyoshi Folk Craft Movement Tradition Cultural Industry Exhibition.