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Journal articles on the topic 'Muneyoshi'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

이병진. "Read Yanagi Muneyoshi as idea - The authenticity of Korean art theory Yanagi Muneyoshi -." Journal of japanese Language and Culture ll, no. 24 (April 2013): 507–27. http://dx.doi.org/10.17314/jjlc.2013..24.025.

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2

HONDA, Toru. "Yanagi Muneyoshi' Aesthetics of Buddhism." Journal of Research Society of Buddhism and Cultural Heritage, no. 16 (2008): 44–64. http://dx.doi.org/10.5845/bukkyobunka.2008.44.

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이병진. "Animadversional behavior of Yanagi Muneyoshi." Journal of japanese Language and Culture ll, no. 11 (October 2007): 245–66. http://dx.doi.org/10.17314/jjlc.2007..11.013.

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4

Lee, ByungJin. "Yanagi Muneyoshi and Joseon Folk Crafts." Center for Japanese Studies Chung-ang University 52 (February 29, 2020): 241–60. http://dx.doi.org/10.20404/jscau.2020.02.52.241.

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5

Cho, Seon-Ryeong. "Yanagi Muneyoshi and the Imaginary Object of ‘Korean Aesthetics’." Journal of Lacan & Contemporary Psychoanalysis 19, no. 1 (February 28, 2017): 77. http://dx.doi.org/10.18873/jlcp.2017.02.19.1.77.

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6

HASEGAWA, Tsugumi. "Deployment of "Non-duality 不二" by Muneyoshi Yanagi:." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 60, no. 2 (2012): 741–44. http://dx.doi.org/10.4259/ibk.60.2_741.

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7

Umezawa　Ayumi. "The Oriental taste of ‘Shirakaba’ generation－Muneyoshi Yanagi, Naoya Shiga, Tetsuro Watsuji－." Journal of East Aisan Cultures ll, no. 50 (November 2011): 57–80. http://dx.doi.org/10.16959/jeachy..50.201111.57.

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8

KOBATAKE, Kunie. "The Footsteps of Yanagi Muneyoshi and the Mapping of Folk Craft Products." Japanese Journal of Human Geography 53, no. 3 (2001): 230–47. http://dx.doi.org/10.4200/jjhg1948.53.230.

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9

吉野浩司. "Toward the Understanding of Jodo sect thought ‒Muneyoshi Yanagi’s NAMU-AMIDABUTSU qs q sociology of knowledge‒." Japanese Modern Association of Korea ll, no. 40 (May 2013): 193–220. http://dx.doi.org/10.16979/jmak..40.201305.193.

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10

Park, Kyu-tae. "‘Mono’ and Beauty of Sadness in Yanagi Muneyoshi – For a Study on the Aesthetics of Monono-aware and Han(恨) –." Journal of Japanese Thought 39 (December 31, 2020): 67–93. http://dx.doi.org/10.30615/kajt.2020.39.3.

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11

Shin, Na-Kyung. "On the Craft Theory in Asian and Western from a View Point of Sensibility -Focused on William Morris and Yanagi Muneyoshi-." Korean Society for Science of Eastern Art, no. 35 (May 30, 2017): 118–40. http://dx.doi.org/10.19078/ea.2017.35.5.

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12

신나경. "The Acceptance Pattern of the Minye Theory and the Aesthetic Value of Minye -Comparative Study on Yanagi Muneyoshi in Korea and Japan." Japanese Language and Literature Association of Daehan ll, no. 66 (May 2015): 421–37. http://dx.doi.org/10.18631/jalali.2015..66.023.

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13

Yang, Jingmiao, and Juyoung Chang. "Research on Sustainable Development Design Strategy of Zhuxianzhen New Year Woodblock Prints based on the Characteristics of Yanagi Muneyoshi"s Mingei Theory." JOURNAL OF THE KOREA CONTENTS ASSOCIATION 22, no. 12 (December 31, 2022): 252–64. http://dx.doi.org/10.5392/jkca.2022.22.12.252.

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14

양지영. "‘Locar Color’ as a Method and ‘Beauty of Joseon’ as an Idea －With a Focus on the Joseon Cultural Movement and Yanagi Muneyoshi－." 아시아문화연구 35, no. ll (September 2014): 109–30. http://dx.doi.org/10.34252/acsri.2014.35..005.

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15

Sha, W. "Comment on “Optimization of the Temperature Profile of a Temperature Gradient Reactor for DME Synthesis Using a Simple Genetic Algorithm Assisted by a Neural Network” by Kohji Omata, Toshihiko Ozaki, Tetsuo Umegaki, Yuhsuke Watanabe, Noritoshi Nukui, and Muneyoshi Yamada." Energy & Fuels 21, no. 1 (January 2007): 379–80. http://dx.doi.org/10.1021/ef0604341.

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16

신나경. "Local Language and National Culture -Focused on Yanagi Muneyoshi's ‘Okinawan Dialect Controversy’-." Japanese Language and Literature Association of Daehan ll, no. 46 (May 2010): 417–31. http://dx.doi.org/10.18631/jalali.2010..46.023.

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17

Lee, Byungjin. "The traditional study of Yanagi Muneyoshi's Folk crafts ideology through the success stories MUJI(Muirushiryohin)." Comparative Literature 78 (June 30, 2019): 125–59. http://dx.doi.org/10.21720/complit78.05.

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18

이상진. "The Asakawa Brothers’ and Yanagi Muneyoshi’s Understanding of Korean Traditional Culture in the Colonial Period ―Focusing on their early activity―." Journal of Japanese Culture ll, no. 79 (November 2018): 5–31. http://dx.doi.org/10.21481/jbunka..79.201811.5.

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19

Lee Sun- Yi. "A Study on the discourse about Chosǒn national character and Chosǒn aesthetic consciousness : focusing on the An Hwak and Yanagi Muneyoshi's discourse." Cross-Cultural Studies 25, no. ll (December 2011): 267–90. http://dx.doi.org/10.21049/ccs.2011.25..267.

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20

Kamada, Yumiko. "Tribal Textiles and the Mingei Circle in Japan: Muneyoshi Yanagi’s View on Carpet." Textile Society of America Symposium Proceedings, 2021. http://dx.doi.org/10.32873/unl.dc.tsasp.0133.

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Abstract:

Tribal Textiles and the Mingei Circle in Japan: Muneyoshi Yanagi’s View on Carpet Yumiko Kamada, Keio University, Tokyo Follow Date of this Version 2020 Citation Published in Hidden Stories/Human Lives: Proceedings of the Textile Society of America 17th Biennial Symposium, October 15-17, 2020. https://digitalcommons.unl.edu/tsaconf/ doi: 10.32873/unl.dc.tsasp.013 Comments Copyright © 2020 Yumiko Kamada Abstract Tribal carpets and textiles have been enthusiastically collected by connoisseurs and ordinary people in Europe and the United States for years. Along with a number of publications on tribal carpets and textiles, several recent exhibitions such as Portable Storage: Tribal Weavings from the Collection of William and Inger Ginsberg at the Metropolitan Museum of Art indicate a keen academic interest in the West. In contrast, tribal carpets and textiles did not gain the attention of the majority of Japanese. However, some Japanese, especially Yanagi Muneyoshi and his friends in the Mingei circle, notably Hamada Shoji, Serizawa Keisuke, and Tonomura Kichinosuke, have been collecting tribal carpets and textiles since the mid-twentieth century. This paper focuses on this little-known fact and explores how and in what circumstances these textiles were collected. As discussed elsewhere by the author, Indian and Persian carpets were brought to Edo-period Japan by the Dutch East India Company and used for special occasions such as festivals. Then, from the early twentieth century, a privileged few, such as aristocrats, scholars, and businessmen, had the chance to visit Europe and the United States and became exposed to carpets as daily furnishings. Some took tribal carpets and textiles back to Japan. While several Japanese handbooks on the use of carpet as interior decoration were published in the 1920s, most Japanese were unfamiliar with carpets. It was in this context that Yanagi Muneyoshi found beauty in carpet designs and came to regard carpets and tribal textiles as idealized artifacts. In the 1950s, Yanagi actually used a saddle bag made by a Persian nomad as a cushion in his library. Using his work as source material, this paper examines why carpets and tribal textiles were highly valued by the Mingei circle and compares their view with William Morris’s attitude toward Oriental carpets.

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