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• W167809310 abstract "This thesis examines how Japanese art critic Yanagi Soetsurs (1889 n 1961) acquisition of a collection of Korears Chosŏn dynasty (1392 n 1910) ceramics from 1914 began as novice interest in the peninsulars arts, but changed as he attempted to co-opt the works to corral anti-colonial sentiment towards Japanrs campaign for empire. In the wake of the brutal Japanese response to Seoulrs March First uprisings in 1919 Seoul n in which thousands of Koreans demonstrating against Japanrs occupation of the peninsula were killed or injured n Yanagi mounted the first reading of Korears Chosŏn dynasty ceramics in an ethnopolitical discourse he called the lbeauty of sorrow.r Its fullest articulation, set out in his 1922 work Korean Art, alleged that the white glazes, the decorative motifs, and, above all, the long, curvaceous lines that he perceived as the most emblematic traits of Chosŏn ceramics were physical manifestations signifying the lsad and lonelyr demeanour of Korean nationals who llived in mourningr due to their experience of repeated foreign invasion. The thesis argues that the combined impact of Yanagirs limited knowledge of European art historical models and his desire to mount a campaign which aimed at rectifying the injustices endemic to imperialism overwhelmed his capacity to appreciate and contextualise distinct periods in the Chosŏn ceramic canon. Methodologically, the thesis adopts an interdisciplinary approach across the fields of Japanese studies, art history, and postcolonialism. It draws on prior scholarship detailing Yanagirs appropriation of Western power structures that helped to legitimise Japanrs colonial project (Duus, 1995; Brandt, 2000; Kikuchi, 2004), his overreliance on certain aesthetic characteristics in the construction of his discourse (Chroe, 1976; Idekawa, 1988), his endorsement of cultural pluralism (Nakami, 2011), and the development of the Chosŏn ceramic canon (Chung, 1993, 2000; Itoh, 2000). In bringing together these disparate strands of research, the thesis constitutes the first sustained scholarship of Yanagirs lbeauty of sorrowr discourse. It is also the first study to offer a full English translation of Korean Art. The thesis argument develops in three stages. Firstly, it demonstrates that in addition to incorporating elements of Leo Tolstoyrs humanism, Mohandas Ghandirs passive resistance, and Peter Kropotkinrs mutual aid, Yanagirs aestheticisation of Korean pathos synthesised a number of European formalist models of artistic style. Of these, his greatest enthusiasm was reserved for the work of William Blake, whose advocacy of the merits of the lbounding liner also alerted Yanagi to the positive, spontaneous power of the Romantic imagination. The thesis expands significantly on prior research to assert that Yanagirs reading of this linear sorrow as the dominant force guiding the production of Chosŏn ceramics encased the objects in a rigid narrative employing values and meanings based less on historically verifiable evidence than on his desire to use the objects to ameliorate the lJapan-Korea problem.r The thesis then gauges the reception and impact of the discourse to highlight how Korean Art not only met with popular and, until the 1970s, mostly inveterate acclaim, but also how the lbeauty of sorrowr emerged as the principal factor influencing Japanese views of Korean art and culture during the colonial period and beyond. The global burgeoning interest in postcolonial studies in the postwar period coincided with the first Korean translation of Korean Art in 1974, which sparked a series of fiery rebuttals attempting to distance Korean material culture from what one of Yanagirs most outspoken critics described as an laesthetics of colonialism.r The thesis argues that despite his altruistic intentions, Yanagirs discourse contributed not only to essentialisation and primitivisation in the reception of Korean culture, but also, in its disavowal of Korean agency, legitimised populist Japanese notions of Korean lstagnationr and ldegeneration.r Ultimately, Yanagirs lbeauty of sorrowr became enmeshed with a colonial irony that reinscribed the imperial enterprise even as he championed Japanrs withdrawal from the peninsula. Finally, the thesis asserts that because Yanagirs focus in Korean Art was fixated on attaching anti-imperial freight to the works, his limited knowledge of European art historical methods prevented him from offering a periodised analysis of the ceramics. His sweeping lbeauty of sorrowr definitions promoted the illusion that the canon was characterised by an artistic rigidity, continuity, and homogeneity, and that its trajectory lacked intercultural exchange. Taking stock of extensive art historical, archaeological, and archival evidence, the thesis challenges these unyielding parameters to argue that Chosŏn ceramics can be classified into three broad periods of stylistic change. In each, the Chosŏn potters borrowed selectively from China or strived to develop a native idiom to varying degrees, in response to such factors as the availability of materials, sociopolitical change, state requirements, and consumer preferences. The detailed examination of each period reveals not only the industryrs state of flux and the canonrs diverse forms of artistic expression, but most importantly, that the Chosŏn staters adoption of Neo-Confucianism as its governing ideology in the late fourteenth century was catalytic to determining the dynastyrs aesthetic idiom.n" @default.
• W167809310 created "2016-06-24" @default.
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• W167809310 date "2013-01-01" @default.
• W167809310 modified "2023-09-27" @default.
• W167809310 title "Korea’s Choson Dynasty Ceramics: Beyond Yanagi Soetsu’s ‘Beauty of Sorrow’ Discourse" @default.
• W167809310 hasPublicationYear "2013" @default.
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