식민지기 일본 회화 속의 조선색-흰색을 중심으로- (The color of Joseon in Japanese paintings during the colonial period- With the white -)

서지정보

· 발행기관 : 한국일어일문학회
· 수록지 정보 : 일어일문학연구 / 124권 / 343 ~ 363페이지
· 저자명 : 윤재석, 강소영

초록

本稿では日帝植民地時代の日本絵画の中の朝鮮色を白を中心に調べた。北川左人の『朝鮮固有色辞典』の最初の項目である白衣の説明では、「高雅」、「温麗」、「無技巧」、「軽快な良い姿」、「白衣を楽しんで着る白衣民族が珍しい存在」と表現される。朝鮮という国の人々を最もよく表象できる色であり、特徴として記述されるが、この初期の記述では「朝鮮色」をめぐる言語文化的人種主義はあまり明らかになっていない。内野健児の詩で「白衣」は朝鮮人／日本人という自他の違いを強調する表現だけでなく、朝鮮人の感情を理解する手段としても使われた。 展示会「日韓近代美術家たちのまなざし-朝鮮で描く-」を通しては、川崎小虎、山川秀峰、加藤松林人、土田麦僊の絵画に現れた白の表象について調べた。川崎の1931年少年絵画では、郷土主義を目指す文明と野蛮を対立させようとする植民主義の視線が投影されていた。 他の3人の画家は、白衣に対する表象が時期ごとに異なるが、「清楚で洗練されてさわやかな美しさ」を表現しようとしたと評価することができる。今後、植民地と帝国、近代国家と美術の問題を和らげたり、論点を回避するための手段ではなく、近代期両国のいかなる主流の美術史も帝国と植民の関係の中から派生した様々な状況と密接な関係の中にあることをさらに多層的に研究する必要があるだろう。

영어초록

In this paper, I investigated the colors of Korea in Japanese paintings during the Japanese colonial period, focusing on white. In Kitagawa Sajin's Dictionary of Unique Colors of Korea, the first item on white coats is ``elegant'', ``warm and elegant'', ``no skill'', ``light and good figure'', and ``white-robed people who enjoy wearing white-robes. is a rare existence.” It is the color that best represents the people of Korea and is described as a characteristic, but the linguistic and cultural racism surrounding ``Korean color'' is not very clear in this early description. In Uchino Kenji's poem, ``byakui'' was not only used as an expression to emphasize the difference between oneself and others between Koreans and Japanese, but was also used as a means of understanding the feelings of Koreans.
Through the exhibition "Gaze of Japanese and Korean Modern Artists - Drawing in Korea -", I investigated the representation of white that appeared in the paintings of Kotora Kawasaki, Shuho Yamakawa, Matsurin Kato, and Bakusen Tsuchida. Kawasaki's 1931 Shonen Paintings projected a colonialist perspective that sought to confront civilization and savagery, which aimed at localism. The other three painters' representations of the white robe differed from period to period, but it can be evaluated that they tried to express a 'neat, sophisticated, and refreshing beauty'. In the future, any mainstream art history in the modern two countries will not be a means to soften the issue of colonies and empires, modern nations and art, or to avoid controversy, but various situations derived from the relationship between empires and colonies. It will be necessary to conduct further multi-layered research on what is closely related.

참고자료

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