高崎における近代工芸運動の考察(1) : 工芸運動の発生と経過
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概要
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There has never been in Japan such a remarkable movement for modernization of designs and craft as has been the case in Europe. As for craft, there was barely the folk craft movement advanced by Muneyoshi Yanagi, whose goal was not the modernization of craft. During the Meiji Era, Japan was so urgent to adapt herself to European civilization that she could ill afford to start her own movement considering her position in the fields of design or craft. Especially, in most parts of the country, having little influence from Europe, the craft manufacturers were unable to get rid of their traditional way of thinking and manufacturing. In 1929, however, there came home to Japan a toung man called Fusaichiro Inouye, who had experienced a new movement for design and craft for seven years in France. In Takasaki, his native town, trying to connect art with local industry, he would start a movement to make high quality craft far more popular than ever. For this purpose, Inouye organized an Association for distribution of wood craft, established the Inouye Craft Institue, and actually started designing and manufacturing himself. What he aimed at was not only fostering local craft but also manufacturing such craft goods as would be well fit for overseas markets. It was because of such a basis well established that Bruno Taut moved to Takasaki in 1934 so as to be a leader in craft. Taut sympathized with Inouye in his ideal of fostering craft movement as had never been found in Japan, and gave a helping hand to the industrialization of craft and design. Indeed, he settled in Takasaki for twenty-seven months, devoting himself to the development of a new craft. What was a tiny craft movement started in Takasaki, grew big under Taut's leadership, whose designs have had a great influence on the local craft here. It would be necessary for us to evaluate highly this craft movement in Takasaki, if we were to make a panorama of our modern design and craft.
- 横浜国立大学の論文
- 1978-11-30