『시라카바(白樺)』를 통해 성장한 근대 일본의 서양화가 ―기시타 류세이(岸田劉生)를 중심으로― (Modern Japanese Western-style painters influenced by 『Shirakaba』 －Focusing on Ryusei Kishida－)

서지정보

· 발행기관 : 한국일본문화학회
· 수록지 정보 : 日本文化學報 / 102호 / 95 ~ 113페이지
· 저자명 : 문형자

초록

本稿では文芸誌『白樺』を基づいて形成された武者小路実篤と岸田劉生の人間関係を中心にした、『白樺』の西洋美術紹介が岸田の芸術に及ぼした影響力について考察したものである。大正時代の代表の作家ともいえる岸田は、武者小路との出会いを「第二の誕生」と言及したことからも彼の影響力を確認することができる。これにより岸田は美術団体である草土社（1915-1922）を創設、以後、自身の画風を後期印象派の画風から次第に自身の芸術観である「内心の要求」をを剥き出されるという画風に変化しつつあった。また、彼は草土展を通じて自然重視の画風を見せているが、これは武者小路が新しき村での生活を通じて見せてくれたヒューマニズムに影響を見受けられたと思われる。したがって、岸田の文学的·美術的な土台は『白樺』による情報の受容および武者小路との交流によって築かれたものであったと言えよう。

영어초록

This study explored Japan's acceptance of modern Western art, focusing on the relationship between Saneatsu Mushanokoji, a member of the Shirakaba group, and Ryusei Kishida, a prominent Taisho-era artist. The study highlights the influence of the literary magazine Shirakaba in introducing Western art into Kishida's artistic development, as evidenced by Kishida's description of his encounter with Mushanokoji as a “second birth.” Through Shirakaba, Kishida was introduced to post-Impressionism and Northern European Classicism, which led him to emulate Van Gogh's style and adopt Durer's Northern European classical techniques. This exposure inspired him to establish the Sodosha’s Art Association (1915–1922). Over time, Kishida’s style evolved from post-Impressionism to one that reflected his personal artistic philosophy, which he referred to as “inner imperatives.” Additionally, Kishida's focus on naturalism in the Sodosha exhibitions was likely influenced by Mushanokoji's humanism, as exemplified by his life in the Atarashiki Mura (New Village). Overall, Kishida's literary and artistic foundations were profoundly shaped by his exposure to Shirakaba and his interactions with Mushanokoji.

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