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Conceptualised in 1920s Japan by Yanagi Soetsu, 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.
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.
Since the mid-1990s Taiwanese artists have been responsible for
shaping much of the international contemporary art scene, yet
studies on modern Taiwanese art published outside of Taiwan are
scarce. The nine essays collected here present different
perspectives on Taiwanese visual culture and landscape during the
Japanese colonial period (1895-1945), focusing variously on travel
writings, Western and Japanese/Oriental-style paintings,
architecture, aboriginal material culture, and crafts. Issues
addressed include the imagined Taiwan and the ""discovery"" of the
Taiwanese landscape, which developed into the imperial ideology of
nangoku (southern country); the problematic idea of ""local
color,"" which was imposed by Japanese, and its relation to the
""nativism"" that was embraced by Taiwanese; the gendered modernity
exemplified in the representation of Chinese/Taiwanese women; and
the development of Taiwanese artifacts and crafts from colonial to
postcolonial times, from their discovery, estheticization, and
industrialization to their commodification by both the colonizers
and the colonized.
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