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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2008.12
- 수록면
- 139 - 162 (24page)
이용수
초록· 키워드
오류제보하기
During the Japanese colonial rule of Korea, the cherry blossoms of Changgyeong Garden represented spring as the new landscape of the year in Gyeongseong (Seoul) to such an extent that there was an expression, “Spring is Changgyeong Garden’s cherry blossoms.” The Garden’s Night Cherry Blossoms Festival, with the arrangement of the museum, zoo, and botanical garden in the ancient palace of the Joseon Dynasty that had been turned into a public amusement park, was a government operated large-scale cultural event that visitors came to see by paying an entrance fee. The Festival, which was carried out annually from 1924 to 1945, displayed hundreds of electric lights and a brilliant spectacle in the form of a 17m neon tower, and at the banquet hall there were various kinds of performances. When the population of Gyeongseong recorded in the annual statistical report of the Japanese colonial government and the size of the Festival visitors are roughly compared, in 1924 when the Festival began the population was around 216,000 and there were about 130,000 visitors, in 1930, about 355,000 people and about 200,000 visitors, in 1934, about 394,000 people and about 300,000 visitors.
The visitors to the Festival represented a multiple assortment of positions, classes, genders, and races within the boundaries of pre-modern and modern people, colonists and the colonized. Because of this, there was a fierce desire for racial, cultural, class, and gender “distinction” among the people within the Festival space. It is also worth noting that, even though enormous crowds gathered to see the Festival every year, people still considered “azalea” or “peach blossom” the flower that represented spring in Joseon. Even though cherry blossoms had been growing in Korea before the Japanese colonial period, there are no Korean poems or folk songs that have cherry blossom as subject, and even during the colonial period, literature or art rarely dealt with cherry blossoms.
If the Japanese view of cherry blossoms focused on the sorrow of life’s transience and on “Japan as the country of sakura (cherry blossoms),” to Koreans cherry blossoms were never far removed from being a seasonal interest, a “brightly blossoming splendid spring flower.” Unlike the Japanese who sat long under the cherry blossom trees and enjoyed singing, dancing, and drinking, Koreans’ view of the flower was generally expressed in way they moved quickly among the flowers, looking for interesting events and people, or enjoying the performances at Yeonmugwan (banquet hall).
Through this process, the common name of cherry blossoms, which is “beotggot” in Korean, became the Japanese “sakura” and the flower was also often called “aeng” according to the sound of its Chinese character “櫻.” The flower, one of many spring flowers that had never received much attention before, began to be called “beotggot/ sakura/aeng” in Korea/Japan, being associated with the respective countries, and the space that provided a carnival-like subversion within which those distinctions disappeared can be noted as an example of how the culture of the colonizing country can become a possession of the colonized people.
The visitors to the Festival represented a multiple assortment of positions, classes, genders, and races within the boundaries of pre-modern and modern people, colonists and the colonized. Because of this, there was a fierce desire for racial, cultural, class, and gender “distinction” among the people within the Festival space. It is also worth noting that, even though enormous crowds gathered to see the Festival every year, people still considered “azalea” or “peach blossom” the flower that represented spring in Joseon. Even though cherry blossoms had been growing in Korea before the Japanese colonial period, there are no Korean poems or folk songs that have cherry blossom as subject, and even during the colonial period, literature or art rarely dealt with cherry blossoms.
If the Japanese view of cherry blossoms focused on the sorrow of life’s transience and on “Japan as the country of sakura (cherry blossoms),” to Koreans cherry blossoms were never far removed from being a seasonal interest, a “brightly blossoming splendid spring flower.” Unlike the Japanese who sat long under the cherry blossom trees and enjoyed singing, dancing, and drinking, Koreans’ view of the flower was generally expressed in way they moved quickly among the flowers, looking for interesting events and people, or enjoying the performances at Yeonmugwan (banquet hall).
Through this process, the common name of cherry blossoms, which is “beotggot” in Korean, became the Japanese “sakura” and the flower was also often called “aeng” according to the sound of its Chinese character “櫻.” The flower, one of many spring flowers that had never received much attention before, began to be called “beotggot/ sakura/aeng” in Korea/Japan, being associated with the respective countries, and the space that provided a carnival-like subversion within which those distinctions disappeared can be noted as an example of how the culture of the colonizing country can become a possession of the colonized people.
목차
Ⅰ. 시작하며 : 스펙타클 사회로의 진입
Ⅱ. 근대 여가문화와 대규모 관제문화행사
Ⅲ. 식민공간 창출로서의 昌慶苑 조성과 사쿠라 식수
Ⅳ. 창경원 밤 벚꽃놀이의 풍경과 관람성(spectatorship)
Ⅴ. 벚꽃과 사쿠라의 간극
참고문헌
Abstract
참고문헌 (55)
참고문헌 신청
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
Flowers in Full Blossom
한국디자인학회 국제초대전도록
2016 .12
-
Flower
한국디자인학회 국제초대전도록
2018 .11
-
You Are a Flower
한국디자인학회 국제초대전도록
2019 .11
-
Flowers
International Invitation Exhibition of Color Works
2015 .11
-
Techno Blossom
한국디자인학회 국제초대전도록
2019 .06
-
The Time of Flowers
International Invitation Exhibition of Color Works
2015 .11
-
The Time of Flowers
International Invitation Exhibition of Color Works
2016 .11
-
Plum Blossom’s Residence
한국디자인학회 국제초대전도록
2020 .07
-
한국 전통 화조도문양을 응용한 텍스타일 디자인 개발 연구
한국의상디자인학회지
2011 .02
-
제주자생 꽃 콘텐츠를 활용한 패션문화상품 개발- 왕벚꽃, 유채꽃, 참꽃을 중심으로 -
한국디자인포럼
2015 .01
-
Flower Cluster
한국디자인학회 국제초대전도록
2020 .07
-
발렌티노 드레스에 표현된 꽃이미지의 입체적 장식기법
한국의상디자인학회지
2012 .09
-
일본 문인화에 있어서 桃源圖의 수용 양상 : 仇英과 谷文晁의 〈桃源圖〉연구
미술사학
2002 .08
-
Understanding the Effects of Different Edible Coating Materials on the Storability of 'Bing' Sweet Cherries
한국포장학회지
2006 .01
-
The Story of Landscape and Flower
한국디자인학회 국제초대전도록
2015 .10
-
The Story of Landscape and Flower
한국디자인학회 국제초대전도록
2015 .05
-
The Story of Landscape and Flower
한국디자인학회 국제초대전도록
2014 .05
-
Flower & Bird 2017
한국디자인학회 국제초대전도록
2017 .12
-
Flower & Bird 2018
한국디자인학회 국제초대전도록
2018 .06
이 논문의 저자 정보
이 논문과 함께 이용한 논문
식민지시대 도시공간과 미술 : 1930년대 경성의 풍경과 미술
박영택
,
심상용
한국근현대미술사학
2002
.12
식민지시대 도시공간과 미술 : 1930년대 경성의 풍경과 미술
박영택
한국근현대미술사학
2002
.12
한국 대학생들의 인성교육을 위한 채플 활성화 방안
김소연
기독교교육정보
2012
.09
기독교 대학의 에배에 대한 창의적 접근 : 채플 교육과정의 개발 및 평가
한미라
기독교교육정보
2009
.08
[근대성연구] 식민지근대의 공간형성 - 근대 서울의 도시계획과 도시공간의 형성, 변용, 확장
염복규
문화과학
2004
.09
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2014-600-000632510