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Soetsu Yanagi’s profound admiration for the crafts of the Joseon Dynasty is well known. In recent years, however, as details concerning the work of craftsmen and crafts scholars in the first half of the 20th century have grown clear, we have learned that elements of Korean traditional crafts held an important position not only in the thinking of Yanagi but in that of many Japanese. In this writing, I will examine the activities of Japanese craft scholars and craftsmen on the Korean Peninsula in the first half of the 20th century, a subject infrequently discussed until now, drawing from the research of recent years.
I will begin by outlining the relationship between Japanese craftsmen and crafts scholars and the ceramics of the Korean Peninsula in the first half of the century, after which I will look at three Japanese ceramists who visited Korea during the 1910’s-1930’s: Tokuro Kato (1897-1985), Handeishi Kawakita (1878-1958), and Kenkichi Tomimoto (1886-1963). By showing the nature of their activities in Korea, I will set forth the probable influences their engagement with Korean ceramics had on Japan’s modern crafts. In this way, I will endeavor to make clear what Japanese crafts obtained from this source, “Korea,” and just how important it was in the formation of modern crafts in Japan.
Furthermore, while examining the afore-mentioned ceramists work in the context of its relationship with the revival of Goryeo ware in Korea, the Crafts Section of the Joseon Art Exhibition, and the Mingei activities of Soetsu Yanagi and Noritaka Asakawa, I will show that developments occurring in many fields related to Korea crafts, treated until as a single category, were multi-faceted in their modernity and possessed with differing qualities.
Finally, I will ponder the complexity of modern craft character that grows apparent when we study the issue of modern Japanese crafts and “Korea.”
I will begin by outlining the relationship between Japanese craftsmen and crafts scholars and the ceramics of the Korean Peninsula in the first half of the century, after which I will look at three Japanese ceramists who visited Korea during the 1910’s-1930’s: Tokuro Kato (1897-1985), Handeishi Kawakita (1878-1958), and Kenkichi Tomimoto (1886-1963). By showing the nature of their activities in Korea, I will set forth the probable influences their engagement with Korean ceramics had on Japan’s modern crafts. In this way, I will endeavor to make clear what Japanese crafts obtained from this source, “Korea,” and just how important it was in the formation of modern crafts in Japan.
Furthermore, while examining the afore-mentioned ceramists work in the context of its relationship with the revival of Goryeo ware in Korea, the Crafts Section of the Joseon Art Exhibition, and the Mingei activities of Soetsu Yanagi and Noritaka Asakawa, I will show that developments occurring in many fields related to Korea crafts, treated until as a single category, were multi-faceted in their modernity and possessed with differing qualities.
Finally, I will ponder the complexity of modern craft character that grows apparent when we study the issue of modern Japanese crafts and “Korea.”
#공예
#근대 공예
#민예(民藝)
#도자기
#조선왕조
#고려스타일 유행
#야나기 무네요시(柳宗悅)
#가토 도쿠로(加藤唐九郞)
#가와키타 한데이시(川喜田半泥子)
#도미모토 겐키치(富本憲吉)
#아사가와 노리타카(淺川伯敎
#Crafts
#modern crafts
#Mingei(民藝)
#ceramics
#Joseon Dynasty
#Goryeo ware
#Yanagi Muneyosi(柳宗悅)
#Tomimoto Kenkichi(富本憲吉)
#Kawakita Handeishi(川喜田半泥子)
#Kato Tokuro(加藤唐九郞)
#Asakawa Noritaka(淺川伯敎)
목차
Ⅰ. 머리말
Ⅱ. 근대 일본의 도예와 조선과의 관계
Ⅲ. 가토 도쿠로(藤唐九郞)의 조사
Ⅳ. 가와키타 한데이시(川喜田半泥子)의 ‘가마굽기’
Ⅴ．도미모토 겐키치(富本憲吉)의 ‘이조’
Ⅵ. 결론
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2015-600-002662214