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This treatise is the academism of the department of me Oriental paintings in the Taiwan Official Art Exhibition during me Japanese occupation period represented by the Taiwan Art Exhibition (1927-1936) and by me Taiwan Viceroy Government Art Exhibition (1938-1943).
Most of the existing studies regarding the style of the Official Art Exhibition during the Japanese days represented by the Taiwan Local Color are those which grasp this academism in the light of nationalistic perspective. Accordingly, I began with the study of the details concerning the establishment of the Taiwan Art Exhibition in order to critically review the existing result of the study.
In the treatise seen throught this discussion, I could confirm that, even if the Taiwan Art Exhibition was led by the Taiwan Educational Committee, it was organized and grew under the jurisdiction of me Viceroy Government practically.
Through the analysis of the Department of the Oriental Paintings of the Taiwan Art Exhibition and the Taiwan Viceroy Government Art Exhibition, I could confirm that they made efforts to express the Taiwan Local Color not only in the paintings of flowers and birds, portraits, and landscapes, but also in all genres and that these works of the Taiwan Local Color have grown into the Taiwanese academism.
I could divide the style of the paintings of birds and flowers of the 16 Official Art Exhibitions generally into that of the Taiwan Art Exhibition and that of the Taiwan Viceroy Government Art Exhibition. As the paintings of birds and flowers of the Official Art Exhibition transformed themselves in the direction its trend from portryaing the like lines of the shape to pursuing the spirituality of the object, the expressionistic passion and decorativeness which were commonly seen in the paintings of birds and flowers of the previous era in the Taiwan Viceroy Government Art Exhibition, disappeared and changed into more reactionary oriental paintings. After all, this is the issue of how we should modernize tradition, and it was caused by the discussion of 'oriental nature common' in Korea, Japan, Taiwan in which the problem of the interpretation of the oriental nature is changing into more reactionary perspective, emphasizing the subjectivity about rational reasoning.
It was evaluated that these paintings of birds and flowers of the Official Art Exhibition chose the Taiwanese material and revealed the Taiwan Local Color well enough, and these paintings surfaced and grew as the genre most preferred by painters.
By bringing to light the fact that the works which described the quiet and snug mood of rural area, one of typical forms of the landscapes of the department of the oriental paintings of the Taiwan Art Exhibition which is similar to the works of "Lee Sang-Beom" who has established the style of the Chosun Local Color in the Chosun Art Exhibition, I could perceive that the identity of their works was, after all, the expression of the Local Color of the orient. After all, this nude the identity of each country exist in the oriental nature and came to serve as an ideology aimed at emphasizing the ought of the sphere of co-prosperity of the Great East Asia.
As for portraits, the paintings which contained the view in which the peaceful rural districts existing before the development of civilization was established as a background of a person, and became one with nature, was a typical form which expressed the Taiwan Local Color. This form can be commonly seen not only in the Taiwan Official Art Exhibition but also in the Chosun Art Exhibition. Besides this, the works of the Taiwan Local Color dealing with the women wearing traditional clothes and dealing with the Taiwanese customs were mainly produced. In connection with this, the view of cultivation traditional arts were adopted as material in the Taiwan Viceroy Government Art Exhibitionl, This was handled as a form of the times aimed at women's role in which women were urged to protect their country and families and bring up their children as fighters in the rear by training their physical strength for the country. In addition to the above, in the rural area which suffered from the deprivation of the food, as the labor force of the young people and the men in the prime of life was reduced, the operation to beautify the reality in which the women and students replacing the labor force of the young and the men in the prime of life were compulsorily mobilized was painted as the image of a healthy farmer by the Taiwan Viceroy Government Art Exhibition. Thus, the situation in which the paintings of the Local Color became the Propaganda Art at the end of the Japanese colonial age also appeared in the Chosun Art Exhibition.
Taiwan has brought up not only the first generation painters through the Official Art Exhibition, but also achieved the original purpose of enhancing education and culture of the public and of cultivating and improving the level of an culture. This function became possible, supported by the absolute response of the respective press media. In the meantime, as the Official Art Exhibitions were held, me social position of artist improved.
If they won prizes, the artists could secure positions and reputation and even economic advantage, too. The spreading of the situation has become a decisive factor which enable the Official Art Exhibition to absorb a great many painters.
After all, painters produced their works in accordance with the style of the Official Art Exhibition in order to receive prizes. This identity intended by the Official Art Exhibition under the above system spread to painters naturally. This solid union of painters and the Official Art Exhibition has become the foundation which enabled most of the painters who had participated in the Taiwan Viceroy Government Art Exhibition to produce the Propaganda Art without a great negative feeling. Of course, the works of the Taiwan Local Color was profoundly influenced by the style of Japanese painting. Consequently, it is difficult to find the difference of the tendency between the Taiwanese painters who won prizes through me Taiwan Art Exhibition and Japanese painters. Likewise, the works of the Taiwan Art Exhibition which expressed the Taiwan Local Color are very similar to those of Chosun Local Color of the Chosun Art Exhibition. It is judged due to the fact that with the Official Art Exhibition being organized and progressed by Japan, their academism was also based on ideologicaJ orientalism encouraged by Japan. Of course, the Taiwan Local Color was created in the Taiwan Art Exhibition, and the Chosun local color in the Chosun Art Exhibition. Accordingly, I could descirbe this in the framework of nationalism. However, as I have examined previously, the difference between the Taiwan Local Color and the Chosun Local Color seen in the pursuit of local color on the part of the respective Official Art Exhibitions is the one of the level of the change of whether they wore the Korean traidtional clothes or the Taiwanese ones in material, The problem is not whether the painters of respective painters produced their works with nationalistic the logy when they painted the academism of the Official Art Exhibition or not, but the problem of grasping the national identity intended by Japan, which is more important than the former. Furthermore, the problem of whether the contents of the intended nationality which was spread throght the Official Art Exhibition and the problem of whether the respective painters' should be perceived nationalistically or not, should be, I dunk, understood comprehensively after they are separated from each other and studied, first of all.
This is because we can not put the bondage called 'pro-Japan' so easily because of the crime in which historical distance didn't exist in the painters of the day who was in the center of the age and who didn't grasp the intended nationalistic idnetity as 'intended'.
After all, the Taiwan Local Color capable of being called as the typical style of Official Art Exhibition was spread and grew through the Official Art Exhibition in connection with the agriculture-centered discussion which was the foundation of the role called logistical base for the discussion of orientalism and war in the strategy for the co-prosperity of the Great East Asia. the spreading of 'intended' identity by the Official Art Exhibition is the role the Official Art Exhibition often has because of its attribute. However, on the other hand, the fact that it was 'intended' didn't surface, but only the fact that the identity was emphasized surfaced. Accordingly, it seems to be the task deserving preferential solution to grasp what identity was intended by whom and what the agreement was before we pay attention to the relation between the Taiwan Local Color and nationanlism.
Most of the existing studies regarding the style of the Official Art Exhibition during the Japanese days represented by the Taiwan Local Color are those which grasp this academism in the light of nationalistic perspective. Accordingly, I began with the study of the details concerning the establishment of the Taiwan Art Exhibition in order to critically review the existing result of the study.
In the treatise seen throught this discussion, I could confirm that, even if the Taiwan Art Exhibition was led by the Taiwan Educational Committee, it was organized and grew under the jurisdiction of me Viceroy Government practically.
Through the analysis of the Department of the Oriental Paintings of the Taiwan Art Exhibition and the Taiwan Viceroy Government Art Exhibition, I could confirm that they made efforts to express the Taiwan Local Color not only in the paintings of flowers and birds, portraits, and landscapes, but also in all genres and that these works of the Taiwan Local Color have grown into the Taiwanese academism.
I could divide the style of the paintings of birds and flowers of the 16 Official Art Exhibitions generally into that of the Taiwan Art Exhibition and that of the Taiwan Viceroy Government Art Exhibition. As the paintings of birds and flowers of the Official Art Exhibition transformed themselves in the direction its trend from portryaing the like lines of the shape to pursuing the spirituality of the object, the expressionistic passion and decorativeness which were commonly seen in the paintings of birds and flowers of the previous era in the Taiwan Viceroy Government Art Exhibition, disappeared and changed into more reactionary oriental paintings. After all, this is the issue of how we should modernize tradition, and it was caused by the discussion of 'oriental nature common' in Korea, Japan, Taiwan in which the problem of the interpretation of the oriental nature is changing into more reactionary perspective, emphasizing the subjectivity about rational reasoning.
It was evaluated that these paintings of birds and flowers of the Official Art Exhibition chose the Taiwanese material and revealed the Taiwan Local Color well enough, and these paintings surfaced and grew as the genre most preferred by painters.
By bringing to light the fact that the works which described the quiet and snug mood of rural area, one of typical forms of the landscapes of the department of the oriental paintings of the Taiwan Art Exhibition which is similar to the works of "Lee Sang-Beom" who has established the style of the Chosun Local Color in the Chosun Art Exhibition, I could perceive that the identity of their works was, after all, the expression of the Local Color of the orient. After all, this nude the identity of each country exist in the oriental nature and came to serve as an ideology aimed at emphasizing the ought of the sphere of co-prosperity of the Great East Asia.
As for portraits, the paintings which contained the view in which the peaceful rural districts existing before the development of civilization was established as a background of a person, and became one with nature, was a typical form which expressed the Taiwan Local Color. This form can be commonly seen not only in the Taiwan Official Art Exhibition but also in the Chosun Art Exhibition. Besides this, the works of the Taiwan Local Color dealing with the women wearing traditional clothes and dealing with the Taiwanese customs were mainly produced. In connection with this, the view of cultivation traditional arts were adopted as material in the Taiwan Viceroy Government Art Exhibitionl, This was handled as a form of the times aimed at women's role in which women were urged to protect their country and families and bring up their children as fighters in the rear by training their physical strength for the country. In addition to the above, in the rural area which suffered from the deprivation of the food, as the labor force of the young people and the men in the prime of life was reduced, the operation to beautify the reality in which the women and students replacing the labor force of the young and the men in the prime of life were compulsorily mobilized was painted as the image of a healthy farmer by the Taiwan Viceroy Government Art Exhibition. Thus, the situation in which the paintings of the Local Color became the Propaganda Art at the end of the Japanese colonial age also appeared in the Chosun Art Exhibition.
Taiwan has brought up not only the first generation painters through the Official Art Exhibition, but also achieved the original purpose of enhancing education and culture of the public and of cultivating and improving the level of an culture. This function became possible, supported by the absolute response of the respective press media. In the meantime, as the Official Art Exhibitions were held, me social position of artist improved.
If they won prizes, the artists could secure positions and reputation and even economic advantage, too. The spreading of the situation has become a decisive factor which enable the Official Art Exhibition to absorb a great many painters.
After all, painters produced their works in accordance with the style of the Official Art Exhibition in order to receive prizes. This identity intended by the Official Art Exhibition under the above system spread to painters naturally. This solid union of painters and the Official Art Exhibition has become the foundation which enabled most of the painters who had participated in the Taiwan Viceroy Government Art Exhibition to produce the Propaganda Art without a great negative feeling. Of course, the works of the Taiwan Local Color was profoundly influenced by the style of Japanese painting. Consequently, it is difficult to find the difference of the tendency between the Taiwanese painters who won prizes through me Taiwan Art Exhibition and Japanese painters. Likewise, the works of the Taiwan Art Exhibition which expressed the Taiwan Local Color are very similar to those of Chosun Local Color of the Chosun Art Exhibition. It is judged due to the fact that with the Official Art Exhibition being organized and progressed by Japan, their academism was also based on ideologicaJ orientalism encouraged by Japan. Of course, the Taiwan Local Color was created in the Taiwan Art Exhibition, and the Chosun local color in the Chosun Art Exhibition. Accordingly, I could descirbe this in the framework of nationalism. However, as I have examined previously, the difference between the Taiwan Local Color and the Chosun Local Color seen in the pursuit of local color on the part of the respective Official Art Exhibitions is the one of the level of the change of whether they wore the Korean traidtional clothes or the Taiwanese ones in material, The problem is not whether the painters of respective painters produced their works with nationalistic the logy when they painted the academism of the Official Art Exhibition or not, but the problem of grasping the national identity intended by Japan, which is more important than the former. Furthermore, the problem of whether the contents of the intended nationality which was spread throght the Official Art Exhibition and the problem of whether the respective painters' should be perceived nationalistically or not, should be, I dunk, understood comprehensively after they are separated from each other and studied, first of all.
This is because we can not put the bondage called 'pro-Japan' so easily because of the crime in which historical distance didn't exist in the painters of the day who was in the center of the age and who didn't grasp the intended nationalistic idnetity as 'intended'.
After all, the Taiwan Local Color capable of being called as the typical style of Official Art Exhibition was spread and grew through the Official Art Exhibition in connection with the agriculture-centered discussion which was the foundation of the role called logistical base for the discussion of orientalism and war in the strategy for the co-prosperity of the Great East Asia. the spreading of 'intended' identity by the Official Art Exhibition is the role the Official Art Exhibition often has because of its attribute. However, on the other hand, the fact that it was 'intended' didn't surface, but only the fact that the identity was emphasized surfaced. Accordingly, it seems to be the task deserving preferential solution to grasp what identity was intended by whom and what the agreement was before we pay attention to the relation between the Taiwan Local Color and nationanlism.
목차
머리말
대만미술전람회의 성립
대만미술전람회와 대만총독부미술전람회의 대만향토색: 동양화부를 중심으로
맺음말
ABSTRACT
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