The Analysis of the aestheticism of Professor Suzuki on base of Noritaka Asakawa, Professor Suzuki (Keijo Daily News, series 1-6), May,14-20,1930

アサカワ　ノリタカ　チョ　スズキ　センセイ　ケイジョウ　ニッポウ　ケイサイ　1930ネン　5ガツ　ニ　ヨル　スズキ　センセイ　ノ　シンビガン　ノ　ブンセキ　コウ

ハヤシダ, マサシ

Hayashida, Masashi

民藝運動

両義的な刷新者

Keijo Higher Commercial School

Mingei (“folk arts” or“arts of the people”)

Ambiguous innovator

In 1921 Magohiko Suzuki who transferred from Yamaguchi Higher Commercial School to the second principal of Keijo Higher Commercial School, took the standpoint of keeping the same aesthetic view point of the Mingei “folk arts,” or Folk Art Movement with Yanagi Muneyoshi and Noritaka and Takumi Asakawa Brothers. In 1924 he respected the expression “Korean ethnic” rejected by the Regional Governor’s Office from the exclusive viewpoint of Japanese Nationalism, and supported the establishment of “Korean National Museum of Art.” The so-called antique collector expresses virtually “Higher Oblomovist” of Aestheticism, but his consistent and sophisticated social consciousness of cultural relativism is recognized for showing a keen interest in Korean craft and ceramics. He is an ambiguous innovator.