1930~1940년대 한국 동양화가의 일본화풍: 일본화풍의 전개와 수용

최초 등록일
2016.04.02
최종 저작일
2009.12
26페이지/파일확장자 어도비 PDF
가격 6,400원 할인쿠폰받기
판매자(주)코리아스칼라
다운로드
장바구니

* 본 문서는 배포용으로 복사 및 편집이 불가합니다.

서지정보

발행기관 : 한국미술연구소 수록지정보 : 美術史論壇 / 29권
저자명 : 강민기

영어 초록

Japan acted as an important source of new painting style and as an important place for art education in the history of modern Korean art. Japanese painting style, which had already appeared in Korea in mid 1910s, intensified during the 1920s as a result of the establishment of the Chosun government-general art exhibition(朝鮮美術展覽會; Chosun misuljunramhye, abbreviated from Chosun misuljunramhye ), and was threatening and chronic enough to change the traditional Korean perception of art. Therefore, the problem of Japanese painting style was the object of much attention by researchers as an issue of modern Korean art history
Originally, new Japanese style paintings gave different impressions to Korean viewers compared to traditional ink paintings. 1920s was a great turning point in which Korean artists accommodated Japanese painting style into the their own, but it widened and deepened its influence to even include the popular culture from 1930s to 1945.
During 1930s to 1945, Japanese painting style was normally characterized by elaborate and detailed use of color, flat descriptions of the subject, technicalism. The Japanese painting style during this period had no clear distinctions between what is Japanese and what is Korean. The paintings which pursued Korean beauty were criticized like ‘Ukiyoe(浮世繪)’ or ‘the Japanese Southern School style(南畵風)’. The intentions of the artists and the evaluations of their works were often completely different from each other.
The exhibition of Japanese art that took place in Deoksu Palace(德壽宮) Seokjojeon (石造殿, which means the stone house) was opened from 1933 to 1945. This exhibition became a chance to see the paintings of preeminent modern Japanese painters and helped introduce Japanese painting style to the citizens of Korea.
Notable Korean painters who studied in Japan between 1930s to 1945 were: Kim Yongsoo(金龍洙), Kim Junghyun(金正炫), Lee Yutae(李惟台), Park Seangkwang(朴生光), Lee Ungno(李應魯), Jeong Jongyu(鄭鍾汝), Choi Kunbae(崔根培), Female artists include: Park Rehyun(朴崍賢), Chun Kyungja(千鏡子). These people studied in Teikoku Art School(帝國美術學校), Kawabata painting School(川端畵學校), Nihon Art School(日本美術學校), Joshibi Women’s Art School(女子美術專門學校), Kyoto City Specialist School of Painting(京都市立繪畵專門學校). Their activity played an important role in the acceptance and the spread of the Japanese painting style. Their experience of Japanese art education has an important meaning in that they settled the art education system in art universities after the Liberation of Korea in 1945.

참고 자료

없음

자료문의

제휴사는 별도로 자료문의를 받지 않고 있습니다.

판매자 정보

코리아스칼라는 정직과 신뢰를 기반으로 학술단체 발전에 도움을 드리고자 하는 기업입니다. 본 사는 본 사가 자체 개발한 솔루션을 통하여 보다 효율적인 업무 관리 뿐만 아니라, 학술지의 데이터베이스화, ARCHIVE를 돕습니다. 본 사의 One Stop Service를 통해 국제적인 학술단체로 함께 도약 할 수 있다고 믿습니다.

본 학술논문은 (주)코리아스칼라와 각 학회간에 저작권계약이 체결된 것으로 AgentSoft가 제공 하고 있습니다.
본 저작물을 불법적으로 이용시는 법적인 제재가 가해질 수 있습니다.

상세하단 배너
우수 콘텐츠 서비스 품질인증 획득
최근 본 자료더보기
상세우측 배너
1930~1940년대 한국 동양화가의 일본화풍: 일본화풍의 전개와 수용