Yuko Kikuchi (菊池優子) has further argued that power relations and ultra-nationalism lie at the core of the formation of "mingei" theory. When Yanagi put forward his "criterion of beauty in Japan" (日本における美の標準, "nihon ni okeru bi no hyōjun") in 1927, he was doing so during a period of rising militarism in Japan. The very "Japaneseness" of "mingei", therefore, and Yanagi's failure to recognise the influence of William Morris on his thinking, may be seen to echo the cultural nationalism of Japanese intellectuals at that time. In addition, he applied his "criterion of beauty" to the crafts of the Okinawans and the Ainu in the Japanese peripheries, and to those of the colonies including Korea, Taiwan and Manchuria. "Mingei" theory, therefore, far from being an Oriental theory, is a "hybridization" and "appropriation" of Occidental ideas such as those of William Morris (1834–1896). Whereas in Leach's view, he had helped Japanese artists to rediscover their original, Oriental culture, Japanese themselves applied Orientalism to their own art and projected the same Orientalism onto the art of other Far Eastern countries like Korea. Kikuchi terms this occidentalist phenomenon "Oriental Orientalism", while Moeran has referred to it as "inverse orientalism, as well as to "counter-orientalism" tendencies found in Japanese society more generally.