미술에 개입된 일제 식민주의 - 조선미술전람회의 그림 속 노동과 연관된 어린이 이미지를 중심으로 (Intervention of Japanese Colonialism in Art : Focusing on Images of Children Related to Labour in Paintings of Joseon Art Exhibition)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 35호 / 7 ~ 36페이지
· 저자명 : 김시습

초록

This study examines the questions around the intervention of Japanese colonialism in Korean modern painting, manifested in the images of children in paintings shown in the Joseon Art Exhibition. While previous studies on the influence of Japanese colonialism in Korean modern art has focused on the distorted expressions of “Joseon-ness,”this study concentrates on the Japanese colonialism that operated in close conjunction with the question of the class.
Although depictions of children’ labor appear often in the Joseon Art Exhibition, it is rare to find a direct and vivid depiction that captures the moment of children’s labor. This alludes to the fact that the paintings of the Joseon Art Exhibition are related to the consumer culture of the city of Gyeongseong, that began to take its form around the 1920s. Presented as a spectacle of popular visual culture, much emphasis was given to the visual aesthetics of the scene of the labor than to the labor itself.
The images of children’s labor shown at the Joseon Art Exhibition can be regarded as an outcome of the disciplinary power of Japanese Imperialism, considering the contrast between the absence of the vivid depiction of children's labor and the aestheticized images of children's labor. In fact, the representation of children as working class is commonly found in the realm of popular culture in the early 1930s, namely discourse of children's literature, illustrations in the popular magazine, and paintings presented at the Proletarian Art Exhibition. Contrastingly, similar images were not shown at Joseon Art Exhibition ― this is an indication of censorship by Japanese Imperialism.
In terms of class, Japanese colonialism is manifested not in the expressions of “Joseon-ness” based on distorted understandings, but rather in the pursuit of authentic “Joseon-ness.” For example, Lee In-sung’ From a Mountain Valley in Gyeongju reveals the aspirations to transcend the self in the concrete reality by featuring national symbols instead of portraying the reality. These aspirations cannot be called imperialistic, however, such aspirations formed the backbone of the mindset of the intellectuals of the time who approved the Asianism suggested by Japanese Imperialism.

영어초록

This study examines the questions around the intervention of Japanese colonialism in Korean modern painting, manifested in the images of children in paintings shown in the Joseon Art Exhibition. While previous studies on the influence of Japanese colonialism in Korean modern art has focused on the distorted expressions of “Joseon-ness,”this study concentrates on the Japanese colonialism that operated in close conjunction with the question of the class.
Although depictions of children’ labor appear often in the Joseon Art Exhibition, it is rare to find a direct and vivid depiction that captures the moment of children’s labor. This alludes to the fact that the paintings of the Joseon Art Exhibition are related to the consumer culture of the city of Gyeongseong, that began to take its form around the 1920s. Presented as a spectacle of popular visual culture, much emphasis was given to the visual aesthetics of the scene of the labor than to the labor itself.
The images of children’s labor shown at the Joseon Art Exhibition can be regarded as an outcome of the disciplinary power of Japanese Imperialism, considering the contrast between the absence of the vivid depiction of children's labor and the aestheticized images of children's labor. In fact, the representation of children as working class is commonly found in the realm of popular culture in the early 1930s, namely discourse of children's literature, illustrations in the popular magazine, and paintings presented at the Proletarian Art Exhibition. Contrastingly, similar images were not shown at Joseon Art Exhibition ― this is an indication of censorship by Japanese Imperialism.
In terms of class, Japanese colonialism is manifested not in the expressions of “Joseon-ness” based on distorted understandings, but rather in the pursuit of authentic “Joseon-ness.” For example, Lee In-sung’ From a Mountain Valley in Gyeongju reveals the aspirations to transcend the self in the concrete reality by featuring national symbols instead of portraying the reality. These aspirations cannot be called imperialistic, however, such aspirations formed the backbone of the mindset of the intellectuals of the time who approved the Asianism suggested by Japanese Imperialism.

참고자료

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