`감성`의 측면으로 본 동서양의 공예론 -윌리엄 모리스와 야나기 무네요시를 중심으로 - = On the Craft Theory in Asian and Western from a View Point of Sensibility-Focused on William Morris and Yanagi Muneyoshi-

다국어 초록 (Multilingual Abstract)

The craft has played a role of simply additional beauty as the decorative and applied art by the master craftsman when the fine art that the western modern times has given the birth was recognized as the best beauty until the modernism era by excluding the usability in the 18th century. The interest for the craft respectively starting with the head of Art and Craft Movement of J. Ruskin and W. Morris in the West, as the starting point with the Folk crafts movement of Yanagi Muneyoshi (柳宗悅) in the East has been aroused rapidly under such circumstances. By the way, how the concept called the crafts in the thought of Morris and Yanagi can be tied as the same concept indeed?
It would be difficult to find the aesthetic characteristic of certain common in molding elements among these crafts if you recall the curve and elegant art crafts of Arts and Crafts Movement that the medieval art of West shall be the model and the simple and elegant crafts of Folk crafts that Yanagi pursued. Although Yanagi and Morris emphasized the importance of crafts equally, it is because the difference that their emotion grown in a different cultural background called the East and West respectively as well are exposed in their view of art and work definitely.
This paper would reconsider the difference of the emotion of Westerns in Art and Crafts and the emotion of Asian in Folk crafts on the basis of the point that the view of point about artwork has no alternative but to be different naturally if the emotion is different like this. By doing so, it aims to provide the key seeking the new direction of crafts in our climate of crafts world getting a lot of control still in the viewpoint overlooking the crafts in modern Western eyes after the Japanese colonial era.
It has been noted that whereas Yanagi responded to the tactual sense like the ceramic sensitively out of especially crafts field, Morris responded to the pictorial art of textile or wallpaper, etc. mainly by comparatively analyzing the difference concretely in the aesthetic sensibility of Yanagi and Morris with the representative crafts they made or collected.

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