근대 일본의 공예가와 ‘조선’ (Modern Japanese Ceramists and “Korea”)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 27호 / 177 ~ 227페이지
· 저자명 : 도미타 야스코, 서희정

초록

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 itsrelationship 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.”

영어초록

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 itsrelationship 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.”

참고자료

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