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Brokered Homeland: Japanese Brazilian Migrants in Japan, and: Strangers in the Ethnic Homeland: Japanese Brazilian Return Migration in Transnational Perspective (review)

Brokered Homeland: Japanese Brazilian Migrants in Japan, and: Strangers in the Ethnic Homeland:... This sense of meaning in life is linked to the aesthetic nature of the work. Nishijin weaving, defined as a traditional industry, falls under the rubric of "craft," but many perceive it as an art form derived from Japanese culture. The aesthetic motifs are consistent with the general Japanese aesthetic locus of conventionally defined seasonal associations. To contextually produce their weaving, weavers study Japanese art forms such as the tea ceremony and no drama. Sometimes weavers seek to translate classical Jap¯ anese paintings derived from literature and myth to cloth. As one weaver put it, "This is not a copy of the paintings, but a new creation" (p. 109). The result is not just a woven craft product, but a new form of textile art. The Silk Weavers of Kyoto: Family and Work in a Changing Traditional Industry is an important ethnography of place and artisanal family and work organization. It contributes to scholarly discussions of tradition and change while presenting involvement in an aesthetic form with strong ties to a particular culture. It elucidates the need for an understanding "audience" of those who can understand such an aesthetic form, as well as those who can make it, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Journal of Japanese Studies Society for Japanese Studies

Brokered Homeland: Japanese Brazilian Migrants in Japan, and: Strangers in the Ethnic Homeland: Japanese Brazilian Return Migration in Transnational Perspective (review)

Goodman, Roger
The Journal of Japanese Studies , Volume 30 (2) – Jul 30, 2004
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Publisher
Society for Japanese Studies
Copyright
Copyright © 2004 Society for Japanese Studies.
ISSN
1549-4721
Publisher site
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Abstract

This sense of meaning in life is linked to the aesthetic nature of the work. Nishijin weaving, defined as a traditional industry, falls under the rubric of "craft," but many perceive it as an art form derived from Japanese culture. The aesthetic motifs are consistent with the general Japanese aesthetic locus of conventionally defined seasonal associations. To contextually produce their weaving, weavers study Japanese art forms such as the tea ceremony and no drama. Sometimes weavers seek to translate classical Jap¯ anese paintings derived from literature and myth to cloth. As one weaver put it, "This is not a copy of the paintings, but a new creation" (p. 109). The result is not just a woven craft product, but a new form of textile art. The Silk Weavers of Kyoto: Family and Work in a Changing Traditional Industry is an important ethnography of place and artisanal family and work organization. It contributes to scholarly discussions of tradition and change while presenting involvement in an aesthetic form with strong ties to a particular culture. It elucidates the need for an understanding "audience" of those who can understand such an aesthetic form, as well as those who can make it,

Journal

The Journal of Japanese Studies – Society for Japanese Studies

Published: Jul 30, 2004

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