By Kim Brandt
ISBN-10: 0822340003
ISBN-13: 9780822340003
A examine of the Weatherhead East Asian Institute, Columbia University
Kingdom of Beauty exhibits that the invention of mingei (folk paintings) by way of jap intellectuals within the Twenties and Thirties used to be relevant to the complicated approach during which Japan grew to become either a latest state and an imperial international strength. Kim Brandt’s account of the mingei move locates its origins in colonial Korea, the place middle-class eastern artists and creditors came across that imperialism provided them detailed possibilities to accumulate paintings gadgets and achieve social, cultural, or even political impression. Later, mingei fanatics labored with (and opposed to) different groups—such as nation officers, fascist ideologues, rival people paintings companies, neighborhood artisans, newspaper and journal editors, and division shop managers—to advertise their very own imaginative and prescient of gorgeous prosperity for Japan, Asia, and certainly the area. In tracing the heritage of mingei activism, Brandt considers not just Yanagi Muneyoshi, Hamada Shōji, Kawai Kanjirō, and different famous leaders of the people artwork circulation but in addition the customarily neglected networks of provincial intellectuals, craftspeople, retailers, and consumers who have been simply as vital to its good fortune. the results of their collective efforts, she makes transparent, used to be the transformation of a once-obscure class of pre-industrial rural artifacts into an icon of contemporary nationwide type.
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Additional info for Kingdom of Beauty: Mingei and the Politics of Folk Art in Imperial Japan (Asia-Pacific: Culture, Politics, and Society)
Example text
This was especially true in comparison to the "high" craft or art produced for elite consumption. In both "Getemono no bi" and Kogei no michi, Yanagi put forward the basic tenets of what became mingei ideology in terms that posited the superiority of premodern and early modern folk handicraft. That superiority was a consequence, he argued, of the conditions of handicraft production and consumption in plebeian society. True mingei (or getemono) was (r) functional; (2) used in the daily life of common people; (3) thus produced in large quantities; (4) therefore inexpensive; (S) produced in a cooperative or collective fashion; (6) handmade; (7) produced using natural, locally specific materials; (8) produced according to traditional techniques and designs; (g) produced by anonymous artisans without self-conscious, individualistic aesthetic intent; and the primary quality of the mingei aesthetic was (ro) simplicity.
A strong animistic theme runs through many ofhis writings on material culture; he regularly imagined consciousness and agency on the part of things, especially things he found beautiful. Occasionally he even asserted this as an article ofbelief. gei no michi: "Who can say that those wares have no spirit? But because they have been reared without human compassion, that spirit has become distorted. " 41 The comparison to a child is telling. Craft objects are imagined to be, like children, vulnerable and dependent.
Their vision of orderly, green se~tle ments within commuting distance of city centers, where workers might restore themselves by contact with the healthful beauties of country life, was 107 yet another factor in the dissemination of desire for the rural. Of course, city workers were not merely passive objects to be molded by urban planners. Nor did they simply ape the fashions of the rich and influential, whether Japanese or European and American. Instead, during the 1920s and s, the literate, middling classes of urban Japan helped to create a 1930 new culture of recreational consumption in which older, once elite modes of consuming rusticity acquired new scope and significance.
Kingdom of Beauty: Mingei and the Politics of Folk Art in Imperial Japan (Asia-Pacific: Culture, Politics, and Society) by Kim Brandt
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