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Königreich der Schönheit: Mingej und die Politik der Volkskunst im kaiserlichen Japan, Pa...
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eBay-Artikelnr.:353781554472
Artikelmerkmale
- Artikelzustand
- ISBN
- 9780822340003
- Book Title
- Kingdom of Beauty : Mingei and the Politics of Folk Art in Imperial Japan
- Book Series
- Asia-Pacific: Culture, Politics, and Society Ser.
- Publisher
- Duke University Press
- Item Length
- 8.9 in
- Publication Year
- 2007
- Format
- Perfect
- Language
- English
- Illustrator
- Yes
- Item Height
- 0.8 in
- Genre
- Design, Art, History
- Topic
- History / Modern (Late 19th Century to 1945), Military / World War II, Asia / Japan, Asian / Japanese, Folk & Outsider Art, Decorative Arts
- Item Weight
- 15.7 Oz
- Item Width
- 6.4 in
- Number of Pages
- 320 Pages
Über dieses Produkt
Product Identifiers
Publisher
Duke University Press
ISBN-10
0822340003
ISBN-13
9780822340003
eBay Product ID (ePID)
63753819
Product Key Features
Book Title
Kingdom of Beauty : Mingei and the Politics of Folk Art in Imperial Japan
Number of Pages
320 Pages
Language
English
Topic
History / Modern (Late 19th Century to 1945), Military / World War II, Asia / Japan, Asian / Japanese, Folk & Outsider Art, Decorative Arts
Publication Year
2007
Illustrator
Yes
Genre
Design, Art, History
Book Series
Asia-Pacific: Culture, Politics, and Society Ser.
Format
Perfect
Dimensions
Item Height
0.8 in
Item Weight
15.7 Oz
Item Length
8.9 in
Item Width
6.4 in
Additional Product Features
Intended Audience
Trade
LCCN
2006-037999
Reviews
" Kingdom of Beauty is first-rate. Kim Brandt's analysis is sharp, her organization supple, her writing graceful. Moreover, her synthesis of the imperial with the domestic--and of the ideological with the material--makes the book a model of cultural history."-- Kären Wigen , author of The Making of a Japanese Periphery, 1750-1920, “A richly textured, beautifully written, and provocatively argued analysis of the Japanese folk-craft movement, this study sheds light on empire, middle-class material culture, the aesthetics of fascism, and much else common to twentieth-century societies in the throes of dislocating change. A beguiling book on important themes.â€�- Carol Gluck , George Sansom Professor of History, Columbia University, "A richly textured, beautifully written, and provocatively argued analysis of the Japanese folk-craft movement, this study sheds light on empire, middle-class material culture, the aesthetics of fascism, and much else common to twentieth-century societies in the throes of dislocating change. A beguiling book on important themes."- Carol Gluck , George Sansom Professor of History, Columbia University, "A richly textured, beautifully written, and provocatively argued analysis of the Japanese folk-craft movement, this study sheds light on empire, middle-class material culture, the aesthetics of fascism, and much else common to twentieth-century societies in the throes of dislocating change. A beguiling book on important themes."-- Carol Gluck , George Sansom Professor of History, Columbia University, " Kingdom of Beauty is first-rate. Kim Brandt's analysis is sharp, her organization supple, her writing graceful. Moreover, her synthesis of the imperial with the domestic--and of the ideological with the material--makes the book a model of cultural history."-- Kren Wigen , author of The Making of a Japanese Periphery, 1750-1920, "A richly textured, beautifully written, and provocatively argued analysis of the Japanese folk-craft movement, this study sheds light on empire, middle-class material culture, the aesthetics of fascism, and much else common to twentieth-century societies in the throes of dislocating change. A beguiling book on important themes."--Carol Gluck, George Sansom Professor of History, Columbia University "Kingdom of Beauty is first-rate. Kim Brandt's analysis is sharp, her organization supple, her writing graceful. Moreover, her synthesis of the imperial with the domestic--and of the ideological with the material--makes the book a model of cultural history."--Kren Wigen, author of The Making of a Japanese Periphery, 1750-1920 "In tracing the history of mingei activism, Brandt considers not only the well-known leaders of the folk-art movement, but also the networks involved in its success."ASIAN ART December 2007, “ Kingdom of Beauty is first-rate. Kim Brandt’s analysis is sharp, her organization supple, her writing graceful. Moreover, her synthesis of the imperial with the domestic-and of the ideological with the material-makes the book a model of cultural history.â€�- K ren Wigen , author of The Making of a Japanese Periphery, 1750–1920, " Kingdom of Beauty is first-rate. Kim Brandt's analysis is sharp, her organization supple, her writing graceful. Moreover, her synthesis of the imperial with the domestic-and of the ideological with the material-makes the book a model of cultural history."- Kären Wigen , author of The Making of a Japanese Periphery, 17501920
Dewey Edition
22
Dewey Decimal
745.0952
Table Of Content
Acknowledgments ix Introduction 1 1. The Beauty of Sorrow 7 2. The Discovery of Mingei 38 3. New Mingei in the 1930s 83 4. Mingei and the Wartime State, 1937-1945 124 5. Renovating Greater East Asia 173 Epilogue 223 Notes 229 Bibliography 277 Index 293
Synopsis
A Study of the Weatherhead East Asian Institute, Columbia University " Kingdom of Beauty" shows that the discovery of "mingei" (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandt's account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groups--such as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managers--to promote their own vision of beautiful prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Sh�ji, Kawai Kanjir�, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style., A Study of the Weatherhead East Asian Institute, Columbia University Kingdom of Beauty shows that the discovery of mingei (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandt's account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groups--such as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managers--to promote their own vision of beautiful prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Shoji, Kawai Kanjiro, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style., A Study of the Weatherhead East Asian Institute, Columbia University Kingdom of Beauty shows that the discovery of mingei (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandt's account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groups--such as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managers--to promote their own vision of beautiful prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Sh�ji, Kawai Kanjir�, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style., Shows how the discovery of mingei by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power, Kingdom of Beauty shows that the discovery of mingei (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandts account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects, and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groupssuch as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managersto promote their own vision of beautiful co-prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Sh'ji, Kawai Kanjir?, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style.
LC Classification Number
NK1071.B73 2007
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