대만미술사에 나타난 어머니의 기호

서지정보

· 발행기관 : 한국미술연구소
· 수록지 정보 : 美術史論壇 / 35권
· 저자명 : 라이 밍주

영어초록

Before the Han people (the Fujianese and the Cantonese) massively immigrated into Taiwan in the 17th century, the Austronesian peoples had already engaged in living activities here for long time. The Austronesian peoples of Taiwan had gone through the primitive life of tribal society, and had faith in animism and ancestor spirit. During the Primitive time, they just reverenced the power of the supernatural, but were not conscious about the home life. The tribal totemic patterns usually originated from traditional myths and legends, and were transformed from the natural entities, such as snake, sun, human figure etc., into non-objective or abstract form.
After 1662, Koxinga completely defeated the Dutch and established the first Han Chinese political rule in Taiwan. Then the Ch’ing government subdued the descendant of Koxinga in 1683, and the Han people continually promoted the Chinese culture in the reclaimed society in Taiwan. The folk art was more popular and flourished earlier than the literati art in the Han people society of Taiwan. In virtue of a patriarchy society, both of the folk art and literati art invariably depicted the subject of loyalty, filial piety, and integrity. The motif of the traditional Chinese art concerned about the relationship between imperial court and patriarchal clan. As regards the sphere of personal home life, the traditional artists obviously chose to disregard the subject of private domain.
The issue of motherhood was not focused on by the Taiwanese artists until the first half of the 20th century. Since 1895, Taiwan was occupied by the Japanese, and all of the military, politics, economy, and education dominated by the Government General of Taiwan. Comparing with the previous Ch’ing government, the Japanese alien ruler was more ambitious for controlling and exploiting the resources of Taiwan. From 1919, after the rule of military governor-generals for 25 years, the Japanese colonial hierarchs transformed into civil official governor-generals until 1936. During this time, Taiwan was regarded as “the main thoroughfare in East Asia”, so “co-existence and co-prosperity” became the major guideline for the governor-generals, and “culture flourish” was considered to be the very important policy in the period of the civil official government generals.
The Government General of Taiwan began to run an Island-wide arts exhibition in 1927, called “Taiwan Fine Arts Exhibition”, “Taiten” for short in Japanese. The Taiten was actually an extension of the Imperial Fine Arts Exhibition (abbreviated as Teiten in Japanese) of Japan proper set up in 1919. The Taiten ceased after its tenth holding in 1936, and transferred to “the Fine Arts Exhibition of the Government-General of Taiwan” (abbreviated as Futen) in response to the tension of the Second Sino-Japanese War.
In the inaugural ceremony of the first Taiten, the Chief Minister of the Governor-General proclaim that “through the holding of this exhibition”, he wished to construct “an austral palace of arts contributing toward the (Japanese) Empire.” Previously the Minister of the Culture and Education had already made a statement about one task of the Taiten was to depict the public life and custom of the Formosa diversely. Apparently to cultivate a salon of the southern colony filled with local color turned out to be the major direction of the Taiten. The subject matters of the common people’s life, including motherhood, dealt by the artists of the island actively, were not only influenced by the art policy of the official salon, but also expressed the ideology and emotions of the Taiwan’s artists. Surveying the paintings created during the Japanese occupation, there were several cases handling motherhood that can be examples to analyze the connections between art and social culture.
After the Japanese Emperor Hirohito announced unconditional surrender, without a resident voting, Taiwan was consigned to the Republic of China in 1945. After World War II, the society of Taiwan underwent a turbulent political suppression and autocratic sinicization. The KMT government launched a series of ideology campaigns and shouted the flaming slogans of the “Combat Art” and “Anti-Communism and Homesick”. The theme of the motherhood was manipulated as a social or political sign in the campaigns. But later on, the islander artists of different background exercised the subject of the motherhood in more exuberant meanings.

참고자료

· 없음