This book challenges the conventional ideas of art and beauty. What is the value of things made by an anonymous craftsman working in a set tradition for a lifetime? What is the value of handwork? Why should even the roughly lacquered rice bowl of a Japanese farmer be thought beautiful? The late Soetsu Yanagi was the first to fully explore the traditional Japanese appreciation for "objects born, not made."
Mr. Yanagi sees folk art as a manifestation of the essential world from which art, philosophy, and religion arise and in which the barriers between them disappear. The implications of the author's ideas are both far-reaching and practical.
Soetsu Yanagi is often mentioned in books on Japanese art, but this is the first translation in any Western language of a selection of his major writings. The late Bernard Leach, renowned British potter and friend of Mr. Yanagi for fifty years, has clearly transmitted the insights of one of Japan's most important thinkers. The seventy-six plates illustrate objects that underscore the universality of his concepts. The author's profound view of the creative process and his plea for a new artistic freedom within tradition are especially timely now when the importance of craft and the handmade object is being rediscovered.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
柳宗悅的自我
评分柳宗悅的自我
评分藝術和工藝在現代社會的分道揚鑣導緻藝術越來越沒人看得懂、以及工藝隻剩軀殼而完全沒有靈魂瞭。隻有當工藝與美術再次結閤在一起的時候——或者說是工匠精神與審美品位重新融為一體之時，那纔是藝術未來的齣路所在吧。
评分藝術和工藝在現代社會的分道揚鑣導緻藝術越來越沒人看得懂、以及工藝隻剩軀殼而完全沒有靈魂瞭。隻有當工藝與美術再次結閤在一起的時候——或者說是工匠精神與審美品位重新融為一體之時，那纔是藝術未來的齣路所在吧。
评分柳宗悅的自我
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