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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.
이용수
초록· 키워드
오류제보하기
Does the city or country which the exhibition is to be held in affect the images shown? This paper will examine the relationship between the exhibits and what cultural perspective they show.
Depending on the host countries, Europe or the U.S.A., Chinese and Japanese exhibitions appeared different during the late 19th century and early 20th century. In European exhibitions, the image of China was of a handcrafts country or mysterious country. In American exhibitions, on the other hand, China was viewed as a country with magnificent tradition.
In the Japanese pavilion in the European exhibition, a Japanese tearoom or shrine (Shinsa) was displayed. You could also see the elaborate beauty of handicraft arts. In American exhibition, however, Japan displayed its huge and magnificent traditional beauty.
Were these differences as referred to above result of the different relationships between the host and the exhibiting countries (China, Japan-France and China, Japan - America)? At that time there was diplomatic friction between China and France, but there wasn't any with America. The Paris exhibition was successful as the image of Japan as a handicrafts country appealed to the French emotions which respect art.
The American exhibition, as well as the Paris exhibition, were driven by American commercialism. In order to raise profits, the host company tried to attract more customers with more massive and more shocking spectacles. The exhibition's commercialism corresponded to the intention to enhance the country's view of China and Japan.
In the Japanese exhibition, which started in 1877, 'modernization', and 'civilization' dominated with the traditional Japanese mode disappearing. The exhibition's modernization and civilization overwhelmed the Japanese people with western culture.
The first icon was the clock tower. The clock tower was a sign that people needed to adjust to modem times, and proclaimed that the nation was now in time with the rest of the world. The next icon was the fountain or electric illumination. The electric illumination made people fantasize about lighting techniques. Glass, which was widely used in the exhibition, was a symbol denoting that economics was more important that politics. Japanese 'civilization' and 'modernization' were combined with the image of 'imperialism', and showed weird complex works of browbeating features and bustling festivals.
The only international modem Chinese exhibition was Nanyang Exhibition in Nanjing in 1910. It had 32 pavilions including an education one. The main entrance and the monument as well as the education pavilion which was the main exhibition and handicraft pavilion adopted modem western architecture. The fontanel set in front of the main entrance was the only example of a traditional Chinese motive.
The host of the exhibition denied the tradition of China and presented 'civilization' and 'modernization' as the future of China by using western pavilion design. The design was done not by the Chinese but English architects working in Shanghai at the moment. At the result of the design, the Chinese exhibition was far from the reality. Moreover, the host place was about 300 kms away from Shanghai, which was the most prosperous region and it showed that political logic still exceeded economical logic in China at the moment.
Meanwhile the both Chosun and Taiwan, colonies of Japan and, were presented as a castle turret, and a palace respectively in foreign exhibitions. In the exhibition, which was held in Chosun, modem style was compounded with traditional style by holding the events in palaces such as Gyungbok-gung. In Taiwan, the exhibition was held in a park. Therefore there were no symbolic traditional motives. The palace was a symbol of traditional sovereignty. The palace site was exactly right to show the incapacity of the corrupt dynasty. It was also used as a space of freedom breaking through what was normally off limits to the people. The exhibition in the Chosun palace had been diluted the symbolism of Chosun which formerly had been a strong symbol of the dynasty.
Taiwan, on the contrary, as one of provinces of the Chung dynasty was not a symbolic region, so it did not have to dispose any symbolism. Therefore, only western modernism was expressed in the Taiwanese exhibition. The regional symbolism of colonial exhibitions of Taiwan and Chosun contrasted with the regional symbolism from the modem cities such as in Tokyo which had had many exhibitions.
Depending on the host countries, Europe or the U.S.A., Chinese and Japanese exhibitions appeared different during the late 19th century and early 20th century. In European exhibitions, the image of China was of a handcrafts country or mysterious country. In American exhibitions, on the other hand, China was viewed as a country with magnificent tradition.
In the Japanese pavilion in the European exhibition, a Japanese tearoom or shrine (Shinsa) was displayed. You could also see the elaborate beauty of handicraft arts. In American exhibition, however, Japan displayed its huge and magnificent traditional beauty.
Were these differences as referred to above result of the different relationships between the host and the exhibiting countries (China, Japan-France and China, Japan - America)? At that time there was diplomatic friction between China and France, but there wasn't any with America. The Paris exhibition was successful as the image of Japan as a handicrafts country appealed to the French emotions which respect art.
The American exhibition, as well as the Paris exhibition, were driven by American commercialism. In order to raise profits, the host company tried to attract more customers with more massive and more shocking spectacles. The exhibition's commercialism corresponded to the intention to enhance the country's view of China and Japan.
In the Japanese exhibition, which started in 1877, 'modernization', and 'civilization' dominated with the traditional Japanese mode disappearing. The exhibition's modernization and civilization overwhelmed the Japanese people with western culture.
The first icon was the clock tower. The clock tower was a sign that people needed to adjust to modem times, and proclaimed that the nation was now in time with the rest of the world. The next icon was the fountain or electric illumination. The electric illumination made people fantasize about lighting techniques. Glass, which was widely used in the exhibition, was a symbol denoting that economics was more important that politics. Japanese 'civilization' and 'modernization' were combined with the image of 'imperialism', and showed weird complex works of browbeating features and bustling festivals.
The only international modem Chinese exhibition was Nanyang Exhibition in Nanjing in 1910. It had 32 pavilions including an education one. The main entrance and the monument as well as the education pavilion which was the main exhibition and handicraft pavilion adopted modem western architecture. The fontanel set in front of the main entrance was the only example of a traditional Chinese motive.
The host of the exhibition denied the tradition of China and presented 'civilization' and 'modernization' as the future of China by using western pavilion design. The design was done not by the Chinese but English architects working in Shanghai at the moment. At the result of the design, the Chinese exhibition was far from the reality. Moreover, the host place was about 300 kms away from Shanghai, which was the most prosperous region and it showed that political logic still exceeded economical logic in China at the moment.
Meanwhile the both Chosun and Taiwan, colonies of Japan and, were presented as a castle turret, and a palace respectively in foreign exhibitions. In the exhibition, which was held in Chosun, modem style was compounded with traditional style by holding the events in palaces such as Gyungbok-gung. In Taiwan, the exhibition was held in a park. Therefore there were no symbolic traditional motives. The palace was a symbol of traditional sovereignty. The palace site was exactly right to show the incapacity of the corrupt dynasty. It was also used as a space of freedom breaking through what was normally off limits to the people. The exhibition in the Chosun palace had been diluted the symbolism of Chosun which formerly had been a strong symbol of the dynasty.
Taiwan, on the contrary, as one of provinces of the Chung dynasty was not a symbolic region, so it did not have to dispose any symbolism. Therefore, only western modernism was expressed in the Taiwanese exhibition. The regional symbolism of colonial exhibitions of Taiwan and Chosun contrasted with the regional symbolism from the modem cities such as in Tokyo which had had many exhibitions.
목차
1. 머리말
2. 유럽 및 미국 박람회에서 중국과 일본의 이미지
3. 東京(大阪)과 南京의 박람회에서 자국의 이미지
4. 京城과 臺北의 박람회에서 공간의 상징성
5. 맺음말
Abstract
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