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Independence Movement: Remembering Japanese Art Critic Yanagi Sōetsu’S Solidarity with Colonized Koreans

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Independence Movement: Remembering Japanese Art Critic Yanagi Sōetsu’S Solidarity with Colonized Koreans Volume 17 | Issue 16 | Number 1 | Article ID 5301 | Aug 15, 2019 The Asia-Pacific Journal | Japan Focus The Centenary of Korea’s Sam-il (March First) Independence Movement: Remembering Japanese Art Critic Yanagi Sōetsu’s Solidarity with Colonized Koreans Penny Bailey Abstract culture, Kwanghwamun Gate One hundred years on from Korea’s Sam-il (March First) Independence Movement, this article outlines a number of factors that led to 2019 marks the hundredth anniversary of the the mass mobilization of Koreans in sustained stirrings of a major watershed in Korean nationwide efforts to oust the Japanesehistory, the March First Movement三一運動 colonizers from the peninsula. Although much (Kr. Sam-il undong; Jp. San’ichi undō), which of the pro-independence activism took place at began with mass popular protests calling for the grassroots level in Korea, the movement independence in Seoul on 1 March, 1919. also provided an opportunity forThese protests ignited others across the contemporaneous transnational commentators country that maintained momentum for over a to publicly make known their disapproval of year, forming the earliest and most widespread Japan’s escalating imperial expansionism and displays of Korean resistance to the Japanese its rigid colonial policies. In Japan, a number of seizure of Korea in 1905, the annexation in concerned observers questioned the dominant 1910, and the era of colonization which lasted mode of thinking at the time which pitted the until Japan’s defeat in World War II. As a colonial project as a noble and altruistic political campaign seeking the reinstatement of venture that would “civilize” Koreans.Korean sovereignty, the Sam-il Movement was Criticisms ranged from a distrust of the not confined to the Korean peninsula, but empire’s political motivations to the economic extended to the diaspora and supporters in costs of running the colonies, and moral many international locations including Japan, opposition based on humanitarian grounds. Manchuria, China, the United States, and parts One Japanese commentator who demonstrated of Europe.1 The study of these cosmopolitan solidarity with the colonized Koreans was the accounts is important in broadening our art critic Yanagi Sōetsu 柳宗悦 (1889–1961), understanding of their contribution to who published a number of impassioned intellectual exchange on the movement and appeals in an effort to demonstrate his situating modern Korean history within the indignation at Japan’s occupation of the broader global context. This article focuses peninsula and to highlight the importance of predominantly on expressions of support for acknowledging and protecting Korea’s vast the Koreans shown by the Japanese art critic repository of extraordinary visual cultures. Yanagi Sōetsu 柳宗悦 (1889–1961),2 who closely watched the unfolding events in Korea (Jp. Chōsen) in the colonial era, monitoring how Keywords: Yanagi Sōetsu, Sam-ilthe protests affected daily life for Koreans in Independence Movement, March Firstthe colony, and whether his peers would speak Movement, Japanese colonialism, Korean visual out against the brutality of Japan’s response to 1 17 | 16 | 1 APJ | JF the crisis. carried out its first restoration project on Sŏkkuram.5 On his visit, however, Yanagi was Yanagi’s interest in Korea began around 1914, scathing of the results, complaining that “It when an acquaintance living in colonial Korea, looks less like a restoration than a case of Asakawa Noritaka 浅川典孝 (1884–1964), vandalism.” In his own careful observations of visited him at his home in Abiko (Chiba) with a the “eternal masterpiece” (ei’en na kessaku) gift of a Chosŏn dynasty (1392–1910) porcelain Sŏkkuram, Yanagi identified in the central, vessel decorated with a cobalt-paintedprincipal Buddha and thirty-seven relief “autumn-grass” design. Yanagi was captivated carvings of other figures in the Buddhist by the understated elegance of the work, pantheon on the surrounding grotto walls a sparking an interest in Korean visual cultures unique national aesthetic emblematic of the that also led him to seek out similarly rustic spirit of the Korean people.6 handmade wares in Japan. Later, he would define such wares asmingei 民芸 (a contraction of minshūteki kōgei 民衆的工芸, “crafts of the people”) after he and his potter friends Hamada Shōji 浜田庄司 (1894–1978), Kawai Kanjirō河井寛次郎 (1890–1966), Tomimoto Kenkichi 富本憲吉 (1886–1963) and Bernard Leach (1887–1979) established Japan’s Folk Crafts Movement 民芸運動 (Mingei undō) in the mid-1920s.3 In 1916, Yanagi decided to visit Asakawa Noritaka and his younger brother Asakawa Takumi 浅川巧 (1891–1931) in Seoul (Jp. Keijō) in order to experience Korean culture first hand. Arriving at the Port of Pusan on 11 August, Yanagi toured a number of locations in The unrestored Sŏkkuram Grotto, circa the southern part of the peninsula before 1912 (Source: Chōsen Sōtokufu [The catching the train to Seoul to spend two weeks Government General of Korea], Bukkokuji with the brothers. While in North Kyŏngsang to Sekkutsuan [Pulguksa and Sŏkkuram], Province, Yanagi was particularly impressed 1938, “Plate 22 Former View of Sekkutu-an with the ancient capital of Kyŏngju (Jp. Keishū), Cave-Temple,” n.p.) where he was struck by the beauty and grandeur of Sŏkkuram Grotto (Jp. Sekkutsuan).4 The grotto had been constructed At the time of his visit, Yanagi was part of a from granite blocks in the eighth century under group of educated young men in Tokyo Unified Silla (668CE–935CE), when Korean including Mushanokōji Saneatsu 武者小路実篤 Buddhist art and architecture was at its zenith. (1885–1976), Shiga Naoya志賀直哉 However, when it was “discovered” by the (1883–1971), and Arishima Takeo有島武郎 Japanese around 1910, it was in a state of (1878–1923) who styled themselves as the disrepair due to centuries of neglect under the group Shirakaba 白樺 (White Birch). The group Neo-Confucian governance of the Chosŏn was formed through their mutual interest in monarchy. Between 1913 and 1915, the modern Western art and literature, which the Government-General of Korea 朝鮮総督府 (Kr. members introduced in the 160 issues of their Chosŏn ch’ongdokpu; Jp. Chōsen sōtokufu) eponymous journal from 1910 to 1923. As a 2 17 | 16 | 1 APJ | JF platform for the dissemination of avant-garde His work, which traced strong ethnic links ideas celebrating individuality and subjective between Koreans and Manchurians in the expression, Shirakaba took a leading role in ancient Kingdom of Puyŏ, rejected both the modern Japan in disseminating reproductions imposition of China’s historical suzerainty over of the works of artists including Paul Cézanne, Korea and Japan’s contemporary claims of Henri Matisse, and Paul Gauguin (many for the authority in the peninsula.10 In 1907, Sin played first time), and translations of the writings of a seminal role in the formation of the art historians and thinkers such as Julius clandestine nationalist organization Sinminhoe Meier-Graefe, C. Lewis Hind, and Henrik 新民会 (New People’s Association), before Ibsen.7 One of the individuals the group held a leaving the country just before the formal particular admiration for was Leo Tolstoy annexation in 1910, to continue his nationalist (1828–1910), whose pursuit of individual activities abroad.11 betterment and unwavering commitment to liberal humanism aligned with the members’ The outbreak of the protests in Seoul in 1919 own ideological pursuits. For Yanagi, the can be attributed to a number of factors discovery of Tolstoy was a crucial formative feeding public resistance to the Japanese influence on his intellectual development, colonization of the country and grievances with reinforcing his resolve (from around 1908) to the colonial administration. Foremost among distance himself from his youthful defense of these, Koreans opposed the harsh conditions of militarism.8 the first decade of authoritarian “military rule” (Jp. budan seiji) adopted by the colony’s first After the outbreak of the Sam-il protests, governors, Terauchi Masatake寺内正毅 (g. Yanagi was among the first public intellectuals 1910–1916) and Hasegawa Yoshimichi 長谷川好 in Japan to openly state his anger at the 道 (g. 1916–1919). The assimilationist program entrenched view of Korean society and culture inaugurated under their guidance was designed propagated by colonial apologists as backward to educate Koreans in Japanese ways, and was and impoverished. Horrified by the swift and proclaimed as a philanthropic mission that brutal nature of Japan’s response to the amounted to “the spread of civilization.”12 The protesters—and what he perceived as a lack of authorities believed that the racial and cultural condemnation of Japan’s actions in its newest similarities shared by the two peoples would colony—Yanagi began publishing prolifically ensure the success of the Koreans’ about Korea in various newspapers and high- incorporation into the Japanese empire. In profile journals, framing his petitions for reality, however, this “inclusion” in empire was Japan’s withdrawal from the peninsula and the only nominal, as colonial subjects were not return of Korean sovereignty around his afforded the same rights as Japanese nationals, expressions of empathy for colonial Koreans, and Korean culture was largely disparaged or his admiration for Korean art, and his concern ignored.13 for the preservation of the country’s visual cultures.9 Outside the colony, international events such as the 1917 dismantling of the Tsarist autocracy In Korea, the anti-colonial struggle had begun in the Russian Revolution, and the participation
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