‘무인양품(無印良品)’의 성공사례를 통해 보는 야나기 무네요시의 민예사상의 전통 연구

Abstract

Yanagi Muneyoshi (1889-1961) discovered the beauty in the everyday nuggets created by hand without the use of machines by anonymous names, and through the aesthetics of his readers, And craft theory. The purpose of this paper is to provide a general overview of what Yanagi 's folklore ideology has been formed in, and which cultural ideological position it currently has in Japan. The formation of Yanagi's folklore idea overlaps with the period of Japanese modernization in the early 20th century, moving from the Meiji era to the Daisyou era. At that time, Japan was active in accepting Western art and literature as modern representations. Yanagi is a central member of the Shirakaba (literally "白樺") literary movement group formed under idealist romanticism and serves as an introduction to Western literature and art in Japan. Since then, Yanagi, who has been hard at work in Western art, finds oriental beauty in crafts such as Korea, Japan, and China and highly evaluates and positions it as equivalent to Western universal value. It was a universality that was found in the Orient and Japan's position corresponding to the so-called Western. It is a phenomenon caused by the accumulation of art and ideas that have been accumulated in the West for a long time, and it has been compressed and mixed with the influx of Japan into the emerging modern nation. In the case of craft, it means beautiful handicraft created by skillful technology, unlike fine art. At the same time, crafts are oriented toward practical artistic values. John Ruskin, who is considered to be an idealist in the life and workings of later medieval artists and craftsmen, and William Morris, who admired his influence and stressed the importance of manual labor by opposing the mechanization of art by the Industrial Revolution It is the Arts and Crafts Movement. It is claimed that the restoration of humanity and the restoration of traditional beauty, which had been extinct due to mechanization after the so-called industrial revolution. In this way, the idea of ​​meeting critically with the modern world was introduced to Japan which followed Western values ​​first, and it became the base of Yanagi Muneyoshi's folk art thought. In the case of Yanagi, William Blake's early philosophy of mystical religion has been firmly established and forms an aesthetic value that breaks the boundaries between absolute beauty and ugliness. These influences are combined with the Buddhist idea of ​​Buddhism and develop into the folk art of Buddhism. As you can see, Yanagi meets modern times in the modernization period of Japan and finds the value of universal beauty that transcends the east and the west in the oriental folk crafts. Yanagi Muneyoshi, who made the world a right, not a political matter, but a philosophical task of life and beauty, with a strong aesthetic color called 'art'. Yanagi's craft philosophy, which is said to be essentially beautiful, is evolving into the marketing philosophy of the world's leading fashion apparel company, Unmanned Products. In this paper, we examine the relationship between Yanagi 's craft philosophy and the marketing philosophy of' unmanned products'. And what are the similarities and differences with the folk crafts of Yanagi, whose industrial design products, which are mass-produced by using machines like 'MUJI', are oriented to beautiful handicrafts? In what context did the unmanned manufacturing company develop the craft philosophy into a marketing philosophy? We review the limitations and possibilities of the current Yanagi’s Mingei movement as an idea.