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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2002.6
- 수록면
- 301 - 327 (27page)
이용수
초록· 키워드
오류제보하기
There were many active Japanese painters in Korea during the Japanese colonial period (1910-1945). Most of them had migrated to Korea due to Japanese colonialism. Most of these painters worked as art teachers in public schools and organized various group activities. They also participated in Chosun Art Exhibition (朝鮮美術展覽會, 1922-1944), which was established by the Japanese Government-General of Korea (朝鮮 總督府).
The Japanese Government-General of Korea and its subsidiary, Keijo newspaper company (京城日報), enforced many cultural policies in Korea. One of their policies was being supportive of the Chosun Art Exhibition and its Japanese painters such as Yamada Shinichi (山田新一), Toda Kazuo (遠田運雄), Kato Shorin (加藤松林), and Matsuda Reiko (松田黎光). In order to accomplish this policy, the Keijo newspaper intentionally gave more spotlight to these painters than to others. Furthermore, these Japanese painters enjoyed the privilege of being the citizens of the Empire and consequently gained more authority within the Chosun Art Exhibition. This privilege led the novice painters, who also wanted to succeed in the Chosun Art Exhibition, to imitate the style of these painters.
However, in contrast to their status in Korea, these painters were not recognized as significant painters in Japan. These painters suffered from the inferiority complex of not being part of the main stream artists in their mother country. In addition, the Japanese public had a western oriented tendency and was indifferent towards Korea and its culture. This indifference led to the lack of interest in Japanese painters in Korea.
As a result, these painters tried to advance into the Japanese imperial art circles and to escape from their status as periphery painters active in the Japanese colony. These artists tried to differentiate their paintings by presenting sentiment and scenery that were endemic to Korea. Their goal was to attract the attention of the exhibition judges by representing local color and appearing to be exotic in their works.
Furthermore, many of the western style painters went to Europe to study the technique of oil painting, mainly to overcome their inferiority in western style paintings. Such painters, who came back to Korea, tried to start a new movement of painting with the Korean artists. However, they were not successful in Korea. This was because Korean art circles were mainly led by bureaucratic artists and academic style painters like in other colonies, such as in Taiwan. There were scarcely any Avant-garde painters who could counter the authoritarian artists in Korea.
Towards the end of the 1930s, the Japanese army started to oppress the art circles both in Japan and in its colonies. Both the people of Korea and Japan were forced to be loyal to the Japanese empire. Hence, the modality of the Japanese painters changed as many painters in Korea had to cooperate with the Japanese army and to take part in the glorification process of Japan's imperialistic wars.
In Korea, where there were no professional art schools, Japanese painters taught art in public schools and in other various art institutes. Through exhibitions, they also provided the Korean people with opportunities to observe and to appreciate art. Despite these aspects, in pursuing the Japanese academic style of painting, they hindered the individualistic and diverse development of Korean art. As a result, the Japanese painters residing in Korea brought about the expansion of cultural imperialism in Korea.
The Japanese Government-General of Korea and its subsidiary, Keijo newspaper company (京城日報), enforced many cultural policies in Korea. One of their policies was being supportive of the Chosun Art Exhibition and its Japanese painters such as Yamada Shinichi (山田新一), Toda Kazuo (遠田運雄), Kato Shorin (加藤松林), and Matsuda Reiko (松田黎光). In order to accomplish this policy, the Keijo newspaper intentionally gave more spotlight to these painters than to others. Furthermore, these Japanese painters enjoyed the privilege of being the citizens of the Empire and consequently gained more authority within the Chosun Art Exhibition. This privilege led the novice painters, who also wanted to succeed in the Chosun Art Exhibition, to imitate the style of these painters.
However, in contrast to their status in Korea, these painters were not recognized as significant painters in Japan. These painters suffered from the inferiority complex of not being part of the main stream artists in their mother country. In addition, the Japanese public had a western oriented tendency and was indifferent towards Korea and its culture. This indifference led to the lack of interest in Japanese painters in Korea.
As a result, these painters tried to advance into the Japanese imperial art circles and to escape from their status as periphery painters active in the Japanese colony. These artists tried to differentiate their paintings by presenting sentiment and scenery that were endemic to Korea. Their goal was to attract the attention of the exhibition judges by representing local color and appearing to be exotic in their works.
Furthermore, many of the western style painters went to Europe to study the technique of oil painting, mainly to overcome their inferiority in western style paintings. Such painters, who came back to Korea, tried to start a new movement of painting with the Korean artists. However, they were not successful in Korea. This was because Korean art circles were mainly led by bureaucratic artists and academic style painters like in other colonies, such as in Taiwan. There were scarcely any Avant-garde painters who could counter the authoritarian artists in Korea.
Towards the end of the 1930s, the Japanese army started to oppress the art circles both in Japan and in its colonies. Both the people of Korea and Japan were forced to be loyal to the Japanese empire. Hence, the modality of the Japanese painters changed as many painters in Korea had to cooperate with the Japanese army and to take part in the glorification process of Japan's imperialistic wars.
In Korea, where there were no professional art schools, Japanese painters taught art in public schools and in other various art institutes. Through exhibitions, they also provided the Korean people with opportunities to observe and to appreciate art. Despite these aspects, in pursuing the Japanese academic style of painting, they hindered the individualistic and diverse development of Korean art. As a result, the Japanese painters residing in Korea brought about the expansion of cultural imperialism in Korea.
목차
Ⅰ. 머리말
Ⅱ. 일본인 화가의 이주와 그 배경
Ⅲ. 교단 및 단체 활동
Ⅳ. 해외 유학과 조선미전의 작품 경향
Ⅴ. 재조선 일본인 화가의 正體性 문제
Ⅵ. 맺음말
ABSTRACT
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