In 1868 with the beginning of the Meiji period (1868-1912) and then the return of the imperial family clos-es a very complex era of Japanese history that goes by the name of Edo Period (1603-1867), an era in which international relations had been largely forbidden. It was only from the Meiji period that these in-tercontinental relations were restored, also thanks to the treaties with the Western countries that had fa-voured the transfer of knowledge and professionalism to Orient. In this context emerges the figure of the Japanese philosopher Soetsu Yanagi who first turned a careful study on some western experiences that strongly supported the enhancement of crafts and then the Arts and Crafts that he identified in John Ruskin and William Morris two major pioneers in the field. This paper therefore intends to analyze and describe the critical fortune that the Ruskinian theories have had in the arts and crafts sector in Japan in the first half of the twentieth century and whose knowledge developed starting from 1927 with the first important translations of Ruskin's writings in Japanese language, which allowed many scholars to deep-en their knowledge of the theories proposed by the English writer and art critic.
La fortuna critica di John Ruskin in Giappone nella prima metà del Novecento
OLIMPIA NIGLIO
2019-01-01
Abstract
In 1868 with the beginning of the Meiji period (1868-1912) and then the return of the imperial family clos-es a very complex era of Japanese history that goes by the name of Edo Period (1603-1867), an era in which international relations had been largely forbidden. It was only from the Meiji period that these in-tercontinental relations were restored, also thanks to the treaties with the Western countries that had fa-voured the transfer of knowledge and professionalism to Orient. In this context emerges the figure of the Japanese philosopher Soetsu Yanagi who first turned a careful study on some western experiences that strongly supported the enhancement of crafts and then the Arts and Crafts that he identified in John Ruskin and William Morris two major pioneers in the field. This paper therefore intends to analyze and describe the critical fortune that the Ruskinian theories have had in the arts and crafts sector in Japan in the first half of the twentieth century and whose knowledge developed starting from 1927 with the first important translations of Ruskin's writings in Japanese language, which allowed many scholars to deep-en their knowledge of the theories proposed by the English writer and art critic.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
