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Cipango - French Journal of Japanese Studies English Selection Cipango - French Journal of Japanese Studies English Selection 1 | 2012 The Invention of “Folk Crafts”: Yanagi Sōetsu and Mingei Édition électronique URL : https://journals.openedition.org/cjs/75 DOI : 10.4000/cjs.75 ISSN : 2268-1744 Éditeur INALCO Référence électronique Cipango - French Journal of Japanese Studies, 1 | 2012, « The Invention of “Folk Crafts”: Yanagi Sōetsu and Mingei » [En ligne], mis en ligne le 22 mai 2012, consulté le 11 juillet 2021. URL : https:// journals.openedition.org/cjs/75 ; DOI : https://doi.org/10.4000/cjs.75 Ce document a été généré automatiquement le 11 juillet 2021. Cipango - French Journal of Japanese Studies is licensed under a Creative Commons Attribution 4.0 International License. 1 The exhibition The Mingei Spirit in Japan, curated by Germain Viatte and Shiraha Akemi for the Musée du Quai Branly, provided the occasion to introduce a largely unknown section of Japanese art to the French public, as well as one aspect of the work of Yanagi Muneyoshi (also known by his pen name, Sōetsu) 柳宗悦(1889-1961). In this respect, the exhibition was undoubtedly one of the most interesting events devoted to Japanese art to be organised in Paris in 2008. The approach chosen by the exhibition’s organisers – as the subtitle “from folk craft to design” indicates – aimed to illustrate the continuity between the Folk Crafts Movement (mingei undō 民藝運動), launched in the 1920s, and modern design. A large section was thus devoted to Yanagi Sōetsu’s eldest son, the designer Yanagi Sōri 柳宗理 (1915-2011), and the international links established with designers such as Bruno Taut, Charlotte Perriand and Isamu Noguchi between the 1930s and 1950s. Cipango - French Journal of Japanese Studies, 1 | 2012 2 SOMMAIRE Introduction Yanagi Sōetsu and the invention of “folk crafts”: a new contextualisation Christophe Marquet The Invention of “Folk Crafts”: Yanagi Sōetsu and Mingei The Endless pursuit of inner desires: Yanagi Sōetsu before Mingei Michael Lucken Folk painting as defined by Yanagi Sōetsu: from revolutionary painters to pictorial revolution Christophe Marquet And Mokujiki’s smile revealed true beauty to Yanagi Sōetsu François Macé The Folk Crafts Movement and Folklore Studies Damien Kunik Folk Crafts and Folklore Studies Debate between Yanagita Kunio and Yanagi Sōetsu at the Japan Folk Crafts Museum Yanagita Kunio et Yanagi Sōetsu Damien Kunik (éd.) “Nihonjinron” in the Museums of Paris: design and Japanese identity Coralie Castel Bibliography: The Invention of “Folk Crafts” Yanagi Sōetsu and Mingei Jean-Michel Butel, Damien Kunik, Michael Lucken, François Macé, Christophe Marquet et Laurent Nespoulous Cipango - French Journal of Japanese Studies, 1 | 2012 3 Introduction Cipango - French Journal of Japanese Studies, 1 | 2012 4 Yanagi Sōetsu and the invention of “folk crafts”: a new contextualisation Yanagi Sōetsu et l’invention des « arts populaires » : remise en perspective Christophe Marquet NOTE DE L’ÉDITEUR Original release: Christophe Marquet, « Yanagi Sōetsu et l’invention des « arts populaires » : remise en perspective », Cipango [En ligne], 16 | 2009, mis en ligne le 15 novembre 2011, DOI: 10.4000/cipango.371. 1 The exhibition The Mingei Spirit in Japan,1 curated by Germain Viatte and Shiraha Akemi for the Musée du Quai Branly, provided the occasion to introduce a largely unknown section of Japanese art to the French public, as well as one aspect of the work of Yanagi Muneyoshi (also known by his pen name, Sōetsu) 柳宗悦 (1889-1961). In this respect, the exhibition was undoubtedly one of the most interesting events devoted to Japanese art to be organised in Paris in 2008. 2 The approach chosen by the exhibition’s organisers – as the subtitle “from folk craft to design” indicates – aimed to illustrate the continuity between the Folk Crafts Movement (mingei undō 民藝運動), launched in the 1920s, and modern design. A large section was thus devoted to Yanagi Sōetsu’s eldest son, the designer Yanagi Sōri 柳宗理 (1915-2011),2 and the international links established with designers such as Bruno Taut, Charlotte Perriand and Isamu Noguchi between the 1930s and 1950s. 3 Yanagi was also featured at another exhibition on Japanese design just metres away from the Musée du Quai Branly – Wa: The Spirit of Harmony and Japanese Design Today –, at the Japan Cultural Institute in Paris (Maison de la culture du Japon à Paris), lending further weight to the idea that he had initiated a rediscovery of Japanese crafts that had helped to revive modern industrial design. In fact, the catalogue for this exhibition Cipango - French Journal of Japanese Studies, 1 | 2012 5 presented Yanagi’s views on the necessary coexistence of craftsmanship and industrial design as the “archetype of the vision driving design today”.3 4 This interpretation led the organisers of the Musée du Quai Branly exhibition to play down certain important aspects of the Folk Crafts Movement, such as its Western intellectual and aesthetic origins, its links to Buddhism and its pictorial dimension. In this respect, the exhibition differed significantly from the first two major mingei exhibitions: held in the United States from 1995 to 1997 at the instigation of the Japan Folk Crafts Museum (Nihon Mingeikan),4 and at the Museum of Asian Arts in Nice (Musée des arts asiatiques) in 2000 and based on a private collection.5 5 Moreover, we have recently witnessed the emergence of new interpretations of the movement focusing on the ideological principles that underpinned Yanagi’s work. Notable examples include Kikuchi Yuko and Kim Brandt, authors of two publications that retrace the history of the Mingei movement in a colonial context, seeing it primarily as a kind of “cultural nationalism” or a contribution to the creation of a “modern national style”.6 Other research, such as that of Inaga Shigemi, has attempted to reveal the sequence of events that led Yanagi to “invent” an Asian aesthetic tradition in the context of colonial Japan.7 6 Other more radical analyses challenge the humanist interpretation of Yanagi’s work, even going as far as seeing a parallel between certain aspects of his views on folk crafts and the “fascist aesthetic” of the 1930s and wartime Europe.8 Yanagi’s views during this period are presented as those of a “reactionary modernist” – an expression used by the historian Jeffrey Herf to describe the Nazi German and Fascist Italian regimes –9 someone who rejected the individualism of modern society and criticised the “frail” nature of contemporary art. 7 Whilst acknowledging such interpretations, this volume of Cipango chiefly aims to put Yanagi’s work into perspective by shedding light on those aspects of the Folk Crafts Movement overlooked by the Musée du Quai Branly exhibition. It follows a Yanagi Sōetsu-themed workshop held at INALCO on 15 January 2009, organised as part of a Centre for Japanese Studies (Centre d’Études Japonaises) seminar and attended by Germain Viatte and Shiraha Akemi. 8 The majority of the papers presented at the workshop can be found here, in addition to two new research articles and a translation dealing with closely related issues. A presentation of these contributions is preceded by a brief review of the nature and implications of the Mingei movement founded by Yanagi. Yanagi and the Folk Crafts Movement 9 Yanagi Sōetsu occupied a unique position on Japan’s intellectual and artistic scene during the first half of the twentieth century. Neither an artist nor an art historian in a scholarly sense, he was often described as a “thinker” specialising in aesthetics and religious philosophy. He was above all the founding father and spokesperson of the Folk Crafts Movement, or mingei undō. The term mingei 民藝 was coined in 1925 by Yanagi and two potters, Kawai Kanjirō and Hamada Shōji, with the aim of promoting the “functional beauty” of peasant pottery produced by anonymous craftspeople. 10 The term has been interpreted variously as “folk art” (minzoku geijutsu 民俗藝術), “peasant art” (nōmin bijutsu, 農民美術), and even “art of the people” (minshū geijutsu 民 Cipango - French Journal of Japanese Studies, 1 | 2012 6 衆藝術). Yanagi refuted such interpretations,10 objecting in particular to the term “art” (bijutsu, geijutsu), which was coloured by a definition based on Western art categories imported to Japan during the Meiji era and which, in his eyes, had distorted the way ordinary objects were perceived. Yanagi understood his neologism to mean “crafts” (gei) “of the people” (min). He further advocated the use of less ambiguous and more concrete terms such as getemono 下手物 (“common object”) – a slang term used by stallholders at the flea markets he frequented in Kyoto during the 1920s – minki 民器 (“object of the people”), or even zakki 雑器 (“miscellaneous object”), though none of these enjoyed the same success as mingei.11 11 In practical terms, mingei was a generic term encompassing all manner of domestic utensils and objects, furniture or even clothing and textiles crafted by hand using traditional techniques that were either lost or dying out at the beginning of the twentieth century. It mainly referred to local creations from the late Edo or early Meiji eras, although much older objects – such as stone sculptures from the Jōmon period – would later capture Yanagi’s attention for their primitiveness. 12 Yanagi was quick to define mingei as being chiefly: anonymous creations, utilitarian in purpose, produced in large amounts, low in cost, plain and destined for common people, in contrast to crafts or works of art assigned to a particular artist, unique, luxurious and produced for the upper classes. 13 At first sight this definition emphasising the usability of objects differs little from the one used by folklorists to define folk crafts in other countries, notably in France. Take the work of Georges Henri Rivière12 at the National Museum of Popular Arts and Traditions, Paris (Musée des arts et traditions populaires) from the end of the 1930s, and that of his successor Jean Cuisenier, for example.13 Furthermore, let us not forget that in 1928 an International Commission on Folk Arts and Folklore14 was established in Prague and joined by Japan.
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