근대 일본의 공예교육과 동아시아 예술의 특수성

Abstract

Today, domestic craftsmen seem to be seriously undergoing the problem of identity and lack of theory. In order to solve these problems, it would be difficult to find a clue to solving the problems simply by examining the patterns of domestic craftsmen and diagnosing cases of advanced overseas. First, we should look into the origin of 'Crafts' that flowed into Korea through Japan, and examine the ideals and practices of those who established them and how they influenced the history of our traditional crafts. The concept of '工藝(crafts)' was introduced into Korea through modern Japan. In the course of modernization, Japan also proceeded to imitate Western art classifications. What was the problem in the process was the difference of the concept of 'art' in modern Western and in East Asia. Japan, which had been so westernized at the time, insisted that it was "de-Asia." Japan accepted this concept without filtration, and rebellions and conflicts in such a process leave a clear trail in the ideology of modern arts and crafts education in Japan. This study examines the situation of modern crafts world in Japan, which had the same East Asian art tradition and arbitrarily embraced Western art concept first, and analyzes the process of conflict and harmony about the concepts of craft as traditional tools and new Western modern art concepts among in japanese craftsmen at that time. It is a study to examine the present condition of the system. In recent years, there has been a lot of research on the Meiji art to look closely at Japanese craft theories. In particular, Japanese scholars pay attention to the process of importing western art concepts from the pre-Edo era molding culture, in which there was no conceptual art, and creating a system of art. And it is especially noteworthy that they try to find out what Japan has received as 'art' in the past by studying what has been excluded as 'non-art' in such a process.