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
The first illustrated art catalogues in Japan, the Selected Relics of Japanese Art(Shinbi Taikan, 『眞美大觀』) was published from 1899. Until 1908, the publisher Shimbi shoin(審美書院) had completed all 20 books in the set. This set of the illustrated art catalogues can be highly valued as the first publication in Japan, which had established the foundation of Japanese art history during the Meiji(明治) period. These series presented almost every significant art works from the earliest times to the end of the Tokugawa(德川) period. The publisher said in the introductory remarks that they collected the important art relics from the Buddhist temples in Nara(奈良) and Kyoto (京都) and the private collections.
All the books which bound Japanese style, have two types of plates, the foldout collotype plates on thick paper and the non-foldout collotype plates on thin woven paper folded over a sheet of thicker backing paper. And each plates are protected by a very thin paper like a tissue on which is printed the description and explanation on the plate in Japanese and English. The pictures in the books were photographed and collotyped by Ogawa Kazumasa(小川一眞) who participated in 'the survey and investigation of treasures in Ginki province(近畿寶物調査)' from 1888 with Ernest E. Fenollosa and Okakura Tenshin(罔倉天心). The photographs that Ogawa had taken during those periods were used several times in the publications including the Selected Relics of Japanese Art and the Histoire de l'Art du Japon. The publications with the collotyped photographs of Ogawa show us the first photographic reproduction of cultural property and the visual popularization through those photographs.
From the Meiji period, the Japanese bureaucrats and intellectuals who served the government thought that the Buddhism and its art were equal to the Christianism. Therefore they argued the most important culture in Asia was the Japanese Buddhist art which the Japanese had preserved for a long time. In this point of view, the editors of the series, the Selected Relics of Japanese Art, chose the image of the Shakya(釋迦) triad in Kondo(金堂) of Horyuji(法隆寺) as the first plate in the book, volume one. Whether the art works could be a model for the artists was the only significant standard for the selection of the art works for the books. And the editorial boards regarded the ancient ones as the classic, which could be worth while for the scholars to investigate.
Shimbishoin informed that the Selected Relics of Japanese Art was awarded the Gold Prize for printing in the 1900 Paris World Exposition. The series, which were the first illustrated art catalogues that fitted with the policy of the Meiji government, were the publication that opened the beginning of reproduction and distribution of cultural assets by photographs. Also the series projected by semi-governmental management were a visual embodiment of the Japanese art history constructed in the Meiji period.
All the books which bound Japanese style, have two types of plates, the foldout collotype plates on thick paper and the non-foldout collotype plates on thin woven paper folded over a sheet of thicker backing paper. And each plates are protected by a very thin paper like a tissue on which is printed the description and explanation on the plate in Japanese and English. The pictures in the books were photographed and collotyped by Ogawa Kazumasa(小川一眞) who participated in 'the survey and investigation of treasures in Ginki province(近畿寶物調査)' from 1888 with Ernest E. Fenollosa and Okakura Tenshin(罔倉天心). The photographs that Ogawa had taken during those periods were used several times in the publications including the Selected Relics of Japanese Art and the Histoire de l'Art du Japon. The publications with the collotyped photographs of Ogawa show us the first photographic reproduction of cultural property and the visual popularization through those photographs.
From the Meiji period, the Japanese bureaucrats and intellectuals who served the government thought that the Buddhism and its art were equal to the Christianism. Therefore they argued the most important culture in Asia was the Japanese Buddhist art which the Japanese had preserved for a long time. In this point of view, the editors of the series, the Selected Relics of Japanese Art, chose the image of the Shakya(釋迦) triad in Kondo(金堂) of Horyuji(法隆寺) as the first plate in the book, volume one. Whether the art works could be a model for the artists was the only significant standard for the selection of the art works for the books. And the editorial boards regarded the ancient ones as the classic, which could be worth while for the scholars to investigate.
Shimbishoin informed that the Selected Relics of Japanese Art was awarded the Gold Prize for printing in the 1900 Paris World Exposition. The series, which were the first illustrated art catalogues that fitted with the policy of the Meiji government, were the publication that opened the beginning of reproduction and distribution of cultural assets by photographs. Also the series projected by semi-governmental management were a visual embodiment of the Japanese art history constructed in the Meiji period.
목차
Ⅰ. 日本 최초의 圖錄 『眞美大觀』
Ⅱ. 서문을 통해 본 『眞美大觀』의 간행 목적
Ⅲ. 『眞美大觀』의 작품 선정과 편집 방침
Ⅳ. ‘미술의 모범’으로서의 고대 불교조각
Ⅴ. 성공적인 ‘문명국 일본’의 과시
참고문헌
ABSTRACT
참고문헌 (21)
참고문헌 신청
1. [기타자료] - / 1899 / 『眞美大觀』1-11, 13, 16, 20卷, 京都: 審美書院, 1899-1908
2. [단행본] - / 2000 / された / 東京都寫眞美術館
3. [학술지(정기간행물)] - 강희정 / 2008 / 일본미술사 성립기의 인도미술 인식 - 메이지(明治)기에서 다이쇼(大正)기를 중심으로 - / 인문논총 (60) : 173 ~ 205
4. [학술지(정기간행물)] - 기노시타 나가히로 / 1999 / 岡倉天心과 美術史 / 美術史論壇 (9)
5. [학술지(정기간행물)] - 기타자와 노리아키 / 1995 / “미술” 개념의 형성과 리얼리즘의 轉位: 메이지·다이쇼기의 “미술” 인식에 대하여 / 美術史論壇 (2)
2. [단행본] - / 2000 / された / 東京都寫眞美術館
3. [학술지(정기간행물)] - 강희정 / 2008 / 일본미술사 성립기의 인도미술 인식 - 메이지(明治)기에서 다이쇼(大正)기를 중심으로 - / 인문논총 (60) : 173 ~ 205
4. [학술지(정기간행물)] - 기노시타 나가히로 / 1999 / 岡倉天心과 美術史 / 美術史論壇 (9)
5. [학술지(정기간행물)] - 기타자와 노리아키 / 1995 / “미술” 개념의 형성과 리얼리즘의 轉位: 메이지·다이쇼기의 “미술” 인식에 대하여 / 美術史論壇 (2)
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
Contemporary Ikebana and the Potential of Art History at the Boundary of Art
현대미술사연구
2009 .12
-
1950년대의 한국미술(1), 제1공화국 미술의 태동과 진통
미술사논단
2015 .06
-
‘움직이는 조각’과 공연예술
서양미술사학회논문집
1990 .12
-
미술과 공예 : 그 경계와 위상
미술사학
2007 .08
-
일본미술사의 반성적 지평들 : 전쟁의 기억 이후, 미술사비평 또는 메타미술사의 가능성
미술사논단
2012 .12
-
무용과 과학기술을 융합한 그룹 E.A.T.에 관한 연구
무용예술학연구
2019 .01
-
‘日本美術像’의 變遷 : 印象主義 日本觀에서 ‘東洋美學’ 논쟁까지(1880-1940)
미술사논단
2004 .06
-
지역 미술과 권력
미술이론과 현장
2005 .01
-
전통과 현대의 다리를 놓다 : 석남 이경성의 미술사 인식
한국근현대미술사학
2011 .12
-
Glocalization 시대의 현대미술
현대미술학 논문집
2006 .12
-
스베트라나 앨퍼스에 대한 비평적 조망
현대미술사연구
2011 .12
-
전람회 시대 : 『京城日報』(1906~1945)의 미술자료
미술사논단
2014 .06
-
기야 이방운의 《정미년(丁未年) 사계산수도첩(四季山水圖帖)》 연구
미술사와 문화유산
2016 .02
-
미술가와 역사-미술사 교육의 한계와 전망
미술이론과 현장
2004 .01
-
모두를 위한 엘리트주의 : 공동체적 가치의 담론 장場으로서 미술비평
현대미술학 논문집
2009 .12
-
현대미술과 시장 : 예술의 자율성과 자본의 힘 사이에서
현대미술학 논문집
2009 .12
-
국민의 정부 시기 미술진흥정책의 성과와 한계
미술이론과 현장
2003 .01
-
현대미술 감상 및 표현수업 지도방안 연구 - 실험적 관점에 의한 7가지 방법론을 중심으로 -
조형교육
2009 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2010-650-002548357