금강산/위엔산/낙토의 표상, 동아시아 식민지 관설 전람회

서지정보

· 발행기관 : 한국미술연구소
· 수록지 정보 : 美術史論壇 / 30권
· 저자명 : 문정희

영어초록

The improvement of a cultural development is the motive of opening colonial governments’ exhibitions when the Japanese government’s exhibition, which had been imitated the western style, was early planted into colonies. However, a differentiated system between Japan and her colonies in the establishment of Chosun Art Exhibition(1922), Taiwan Art Exhibition(1927), and Manzhoukou Art Exhibition(1936) is not largely out of the colonialism of cultural policies. Asian symbols, which the Japanese government’ exhibition spread to Chosun, Taiwan, and a half-colonized China(National Art Exhibition, 1929), concealed complicated and multifaceted aspects as well as the position of ruling and subjugated class. So far, colonial governments’ exhibition research for the Asian representation has got a fruitful outcome by studying a double structure, which means Orientalism and nationalism in the style of the local color.
This study from these bases looked over the whole picture by expanding to include the east Asian areas. First, I focused on the host’s position to open colonial governments’ exhibitions in assimilationism. There is difference between the Japanese colonies in regions and eras. That is, colonization plans depended on situations which the mainland got faced with. For example, while the host of Chosun Art Exhibition was the education and management bureau of the Japanese Government General of Korea in Chosun Art Exhibition, Taiwan Education committee which later established in Daejeon was very related with resident Japanese artists’ organized art activities. Unlike these cases, the Manchukuo-Japan Culture Association(滿日文化協會) of Manchukuo Art Exhibition put up the first Manchukuo, the host, according to appearance of a nation versus a nation.
The colonial governments’ exhibitions made by the host’s intention revealed their systemization of the subjugated class’s discrimination, asserting the assimilation. Also, the development and the ruling system of a colonial culture were already exposed by colonial expos, especially Chosun Industrial Exhibition(1915) held in Chosun and Taiwan in 1910s. These exhibitions, however, were associated with paintings in colonial governments’ exhibitions. For example, there were the development of sketch trips to Mt. Geumgang(the Diamond Mountains) and the ostentation of local products in the commercial development in a colonial city, Taiwan.
The best example of the Japanese colonial policy in the background of exhibitions and the governments' exhibitions is wall paintings in colonial government offices: <the legend of Mt. Geumgang>(1926) painted by Sanzo Wada(和田三造, 1883~1968), who was the core of authority and power, and <Taiwan gentleman>(1920) and <Kingly way(王道樂土)>(1935) painted by Saburosuke Okuda(岡田三助, 1869~1939). These works demonstrate the dominant system of governments’ exhibition styles. At the same time, they show that the relationship between ruling and subjugated class, publishing colonial slogans, ‘內鮮一體’ which means Japan and Chosun are the one body, and ‘皇國臣民’ which means the people of the Japanese emperor. These wall paintings were respectively made for Chosun Governor-General buildings, Taiwan Governor-General buildings, and Manchukuo Affairs Office. The implicit meaning in subject matters of these paintings were matched to each nation’s symbol; Chosun’s symbol to Mt. Geumgang, Taiwan Shirine(臺灣神社) to Mt. Yuan, and Manmeng’s dream, Utopia(滿蒙樂土) to Harmony of the Five Races. From these symbols, we can find out the Asian representation.

참고자료

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