민예론의 수용양상과 민예의 미적가치 - 야나기 무네요시의 연구에 대한 한·일간 비교를 중심으로 -

Abstract

In the case of Korea, most studies on Yanagi Muneyoshi have been centered on his folkcrafts theory from the perspective of Joseon art. They interpret his theory mostly by linking it to the political ideas under colonial rule. Approaching the theory with the colonial view of history or with Orientalism, however, should not be regarded as a single step forward from the criticism, which swept the 1970s, the western view of art introduced into Japan in the early modern era. They try to identify the generally-accepted thought of art of “the beauty of sadness” or “environmentalism” of Muneyoshi. Some studies view his Joseon Art Theory on a positive note, but in most cases, they are trapped in the boundary of Joseon art and fail to make a more in-depth discussion from a different point of view. In contrast, active discussions have been made in Japan over Folkcrafts Theory by Yanagi Muneyoshi as a thought of craft that challenged or concept of craft in his times, and compare the outcomes with his thought of art for analysis. Through his folkcrafts theory, they noticeably end up diagnosing the modern world of art. Building a correct view of history itself is important. However, in order to better understand the concept of craft in his times, Korean scholars should adopt more various factors. By considering, for example, then the western view, the thoughts of art in the modern era of Japan, and how the concept of Korean art and craft was established in the corresponding period, a more objective critique on the thought and practice of Yanagi Muneyoshi can be drawn. Only in this way, his folkcrafts theory will be recognized as a new form of challenge requiring more vibrant and critical discussions.