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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
한국미술연구소 미술사논단 美術史論壇 第27號
발행연도
2008.12
수록면
151 - 171 (21page)

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초록· 키워드

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In the Edo period of Japan, the mother image projected in visual images encompasses several seemingly contradicting images - the benevolent, chaste and wise mother image projected at home, the Yujyo (courtesan) image with sexual attractiveness features focused on physical beauty. and the hybrid image where desexualization and sexualization are mixed together. Women as mothers, give birth to and raise children and naturally do not continue to retain the ideal physical beauty. On the other hand, Yujyo (courtesan) serve an unspecified number of men, freeing themselves from the obligation of child birth and raising. Likewise. the mother image in the paintings of the Edo period was featured in the expression of sexual attractiveness weakened or strengthened. or in the expression of the mixture of those two images.
This can be interpreted to mean that such woman image in Japan reflected social and temporal changes and requirements. The image of mother delivers the ideal image that the populace expects from women's body and appearance. Those images, packed in motherhood and child raising scenes, were produced into Ukiyo-e and sold in the market as popular image. Even in the Edo period before full swing modernization began in Japan. Ukiyo-e constitutes the birth of the universalization and population of visual images, and shows a typical example of diverse skills of production reproduced arts.
Boys appear mostly next to the image of mother. Child images are varied such as naive child image based on the spirit of Kodakara (valuing children), and the alternate ego of the beings which was supposed to satisfy the desire of the main customer class, men, of Ukiyo-e.

목차

Ⅰ. 들어가며
Ⅱ. 에도시대 母子像의 유행과 제작 배경
Ⅲ. 賢母像과 고다카라(子寶)
Ⅳ. 遊女像과 가공된 母子
Ⅴ. 混成된 母子像
Ⅵ. 맺음말
참고문헌
ABSTRACT

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