지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This paper is the third part of a series re-examining the critical and historical status of Mark Tobey and other Northwest School artists in the canon of American art history. The previous two articles dealt with the marginalization of these artists as a result of the cultural as well as sexual politics of New York's mainstream critics and media during the period. The purpose of the present article is twofold. First, it examines the ideas and styles of East Asian art interpreted and adopted in the works of these artists. Second, it investigates the artist's interest in and interpretation of Zen Buddhism.
The artists associated with the so-called "Northwest School" did not create or develop a formal movement or school. While proposing no manifestos or common stylistic characteristics, they gathered around a few, individually-developed affinities, congregating in the Northwest Coast area, mainly in Seattle, during the middle years of the 20th century. These affinities included a deep interest in Asian art and philosophy. Among the artist who shared these interests were Mark Tobey, Morris Graves, Kenneth Callahan, Guy Anderson, Leo Kenney, George Tsutagawa, Paul Horiuchi, and, to a degree, John Cage.
Interestingly, the gathering of a number of artists with such a strong taste in the East was not always viewed positively by Americas mainstream art world, that is, the dealer-critic institutional system in the New York area. The "Oriental" or "non-American" qualities of the Northwest artist's work often prevented them from gaining a proper appreciation in the American art world, due to the anti-Asian sentiments and nationalism during the Second World War and the subsequent Cold War era. The critical acclaim that the New York School's Abstract Expressionists with their "American-Type" art received at that time was not given to the Northwest artists.
This study proposes that the Zen Buddhism in which the Northwest School artists, like other contemporary American artists, were interested was Japan's institutional Zen Buddhism, created in an attempt to keep up with Japanese government's imperialist policy and imbued with Japan's nationalist and militarist ideas. Japanese Zen proponents such as Shaku Soen and his protege Daisetsu T. Suzuki, among others, visited or resided in the United States from 1893 on to the mid-20th century to aggressively proselytize the supremacy of the "Oriental"(Japanese) as a spiritual being over the materialistic "Occidental"(Americans). This article argues that the reaction to the aesthetic fusion of the East and West attempted by the so-called Northwest School artists seems to have reflected, to a large extent, the ongoing cultural, racial, and ideological warfare between Japan and the United States.
The artists associated with the so-called "Northwest School" did not create or develop a formal movement or school. While proposing no manifestos or common stylistic characteristics, they gathered around a few, individually-developed affinities, congregating in the Northwest Coast area, mainly in Seattle, during the middle years of the 20th century. These affinities included a deep interest in Asian art and philosophy. Among the artist who shared these interests were Mark Tobey, Morris Graves, Kenneth Callahan, Guy Anderson, Leo Kenney, George Tsutagawa, Paul Horiuchi, and, to a degree, John Cage.
Interestingly, the gathering of a number of artists with such a strong taste in the East was not always viewed positively by Americas mainstream art world, that is, the dealer-critic institutional system in the New York area. The "Oriental" or "non-American" qualities of the Northwest artist's work often prevented them from gaining a proper appreciation in the American art world, due to the anti-Asian sentiments and nationalism during the Second World War and the subsequent Cold War era. The critical acclaim that the New York School's Abstract Expressionists with their "American-Type" art received at that time was not given to the Northwest artists.
This study proposes that the Zen Buddhism in which the Northwest School artists, like other contemporary American artists, were interested was Japan's institutional Zen Buddhism, created in an attempt to keep up with Japanese government's imperialist policy and imbued with Japan's nationalist and militarist ideas. Japanese Zen proponents such as Shaku Soen and his protege Daisetsu T. Suzuki, among others, visited or resided in the United States from 1893 on to the mid-20th century to aggressively proselytize the supremacy of the "Oriental"(Japanese) as a spiritual being over the materialistic "Occidental"(Americans). This article argues that the reaction to the aesthetic fusion of the East and West attempted by the so-called Northwest School artists seems to have reflected, to a large extent, the ongoing cultural, racial, and ideological warfare between Japan and the United States.
목차
Ⅰ. 머리말
Ⅱ. 북서파의 ‘동양취향’
Ⅲ. 토비와 일본 제도적 신불교의 선 사상
Ⅳ. 북서파 작가들의 예술과 선 사상
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (29)
참고문헌 신청
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
마크 토비와 모리스 그레이브스 : 미국 모더니즘의 마이너리티
현대미술사연구
2003 .12
-
적에서 동맹으로 : 20세기 중반 미국미술 속의 일본 내셔널리즘
서양미술사학회논문집
2009 .08
-
[번역문] 나가사키 회화 : 唐蘭館圖 연구
미술사연구
2016 .12
-
실내 건축 디자인에 있어서 ‘선’(Zen) 스타일에 관한 연구 : 공간이미지를 중심으로
한국실내디자인학회 논문집
2003 .06
-
The Way to the Highest Good in Aristotle and Zen Buddhism
무도연구소지
1995 .07
-
韓國繪畫에 나타난 禪家的思想 : 高麗를 중심으로
미술사학연구(구 고고미술)
1978 .03
-
체육과 선 : 그 활용에 관한 연구
한국사회체육학회지
2002 .11
-
The Body between East and West
아트센터나비 국제학술강연회
2002 .09
-
馬嘉善 ‘「24茶品」’의 미학적 고찰
동양예술
2018 .01
-
선(禪)수행에 나타난 불교의 신체관
움직임의 철학: 한국체육철학회지
2005 .08
-
일본 젠 스타일(Zen Style) 디자인의 형성요인에 관한 연구
한국디자인문화학회지
2019 .12
-
국가 브랜드 자산으로서의 국가통합인증마크 디자인
Archives of Design Research
2009 .11
-
인증마크에 나타난 시각정보와 신뢰성연구
브랜드디자인학연구
2016 .01
-
동양이 서양을 만나다 : 미술품 수집과 전시, 1850~1930
미술사연구
2009 .12
-
국내 기업 심볼마크 형태와 색채의 시대적 흐름
Archives of Design Research
2012 .08
이 논문의 저자 정보
이 논문과 함께 이용한 논문
근대 일본의 공예가와 ‘조선’
도미타 야스코
,
서희정
한국근현대미술사학
2014
.06
종교와 예술의 문제(Ⅰ) : 야나기 무네요시(柳宗悅)의「미의 종교」를 중심으로
이승현
원불교사상과종교문화
2011
.05
미국 초기 모더니즘 속의 자연과 ‘여성성’ : 앤 브리그먼과 여성 작가들
조은영
서양미술사학회논문집
2012
.08
광화문을 지킨 일본인 : 야나기 무네요시(柳宗悅)와 일본인 그리스도인들
칸다 켄지
,
조영철
신학과세계
2006
.12
근대 일본인의 한국견문기 연구 : 아베 요시시게(安倍能成)의 『청구잡기(靑丘雜記)』를 중심으로
최재철
외국문학연구
2004
.02
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-650-017298221