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초록· 키워드
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In 1726, Tokugawa Yoshimune, the 8th Taikun, received five oil paintings from Holland. The two of them were hung on the wall in the Gohyaku Rakan-ji (Temple of Five Hundred Arhats) in Edo by 1728. One was a painting of various kinds of flowers, and the other was of many sorts of birds including a peacock. The temple was one of the famous places in Edo, and gathered numbers of visitors. However, it took a couple of decades for Japanese painters to receive the impact of these Western paintings.
Chen Nanpin, a Chinese painter was invited to Japan in 1731 and stayed in Nagasaki for about two years. He made colourful paintings with birds and flowers that pleased Yoshimune and Daimyos. The Nampin-style became popular among painters in Kyoto and Edo by the end of the 18th century, and even some of Daimyos leaned the style. The fact that we can find copies of the Dutch birds painting made in Nampin-style helps us to understand how Japanese people received the Western paintings. It means that the Dutch paintings were regarded as a sort of“Chinese”birds and flower paintings. In other words, they received Western culture within“Chinese”cultural system. It was because Japan was under the China-central system at the period. Elites in the Edo period respected highly Chinese literati culture.
It is said that“Akita Ranga”(Akita School of Dutch-style Paintings) was the earliest experiment in Edo period to produce Western-style paintings during An’ei period (1772-1780). They seemed to study perspective and chiarosculo from Western books and prints, but they still used traditional Japanese technique. It is not easy for us to understand their works were made in“Western”style. Subjects and details of“Akita Ranga”show their respect for Chinese literati culture as well as Western culture.
However, “Akita Ranga”has been regarded as a pioneer of modern Westernstyle painting in Japanese art history from the early 20th century. After Sino-Japanese war and Russo-Japanese war, Japan formed its national identity as the most“Westernised” nation in East-Asia and justified its invasion to Asian countries. It was the reason why Japanese reception of Western culture in the 18th century was explained only in the relationship of the West and Japan. However, reception of Western paintings in Edo period needs to be analysed as a part of encounters of China and West.
Chen Nanpin, a Chinese painter was invited to Japan in 1731 and stayed in Nagasaki for about two years. He made colourful paintings with birds and flowers that pleased Yoshimune and Daimyos. The Nampin-style became popular among painters in Kyoto and Edo by the end of the 18th century, and even some of Daimyos leaned the style. The fact that we can find copies of the Dutch birds painting made in Nampin-style helps us to understand how Japanese people received the Western paintings. It means that the Dutch paintings were regarded as a sort of“Chinese”birds and flower paintings. In other words, they received Western culture within“Chinese”cultural system. It was because Japan was under the China-central system at the period. Elites in the Edo period respected highly Chinese literati culture.
It is said that“Akita Ranga”(Akita School of Dutch-style Paintings) was the earliest experiment in Edo period to produce Western-style paintings during An’ei period (1772-1780). They seemed to study perspective and chiarosculo from Western books and prints, but they still used traditional Japanese technique. It is not easy for us to understand their works were made in“Western”style. Subjects and details of“Akita Ranga”show their respect for Chinese literati culture as well as Western culture.
However, “Akita Ranga”has been regarded as a pioneer of modern Westernstyle painting in Japanese art history from the early 20th century. After Sino-Japanese war and Russo-Japanese war, Japan formed its national identity as the most“Westernised” nation in East-Asia and justified its invasion to Asian countries. It was the reason why Japanese reception of Western culture in the 18th century was explained only in the relationship of the West and Japan. However, reception of Western paintings in Edo period needs to be analysed as a part of encounters of China and West.
#도쿠가와 요시무네(德川吉宗, Tokugawa Yoshimune)
#아키타난화(秋田蘭畵, Akita Ranga)
#이시카와 타이로(石川大浪, Ishikawa Tairo)
#이시카와 모코(石川孟高, Ishikawa Moko)
#반 호연(Van Royen)
#심남빈(沈南蘋, Chen Nan-pin)
#오다노 나오타케(小田野直武, Odano Naotake)
#황벽(黃檗, Obaku)
#문인취미(文人趣味, Chinese Literati Culture)
#화이질서(華夷秩序, Chinese-Barbarity Order)
#고야마 쇼타로(小山正太郞, Koyama Shotaro)
목차
Ⅰ. 에도(江戶)에서 전시된 네덜란드 회화
Ⅱ. 南?派의 유행
Ⅲ. 아키타난화(秋田蘭畵)의 위치
Ⅳ. 메이지(明治) 이후 洋風畵의 위치
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