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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
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Nanga(南畵) are Japanese literati paintings. Coined in Japan, the term (which literally means “southern painting”) is derived from China"s Southern School and denotes a series of schools and styles that reinterpret the paintings of the Southern School in Japanese ways. In the 1880s, towards the middle of the Meiji period, Ernest Fenollosa (1853-1908) held literati painting in low esteem. The genre did not belong in the realm of painting, and was entering a phase of decline. Why, then, did nanga begin receiving renewed attention from the 1910s?
This study focuses on the appearance of shin-nanga (新南畵; “neo nanga”), a trend that occurred through the reappraisal of nanga in the late 1910s. Korean studies of shin-nanga have concentrated on identifying patterns of inf luence among Japanese nanga artists and circles that became active from the late 1920s. The definition of shin-nanga differs entirely according to period of emergence or artist, making it hard to generalize. In this study, therefore, I have examined the characteristics of shin-nanga by analyzing texts published in magazines and academic journals primarily from the 1910s, when the term first appeared.
Shin-nanga emphasized not only the formal characteristics of the Southern School but also the same spiritual aspects, such as qiyun shengdong (氣韻生動; “spirit resonance, life-motion”), character, and expression of subjective emotion. This was strongly related to the embrace of post-impressionism in Japan in the early 1910s. Modern painting in Europe after post-impressionism, which emphasized the selection and bold transformation of landscapes and other natural motifs, and pointillism, reminded Japanese painters of traditional Japanese nihonga (日本畵) and the Southern School style. As a result, the Southern School style, which had emerged as a tradition in Japan and Asia, was regarded as similar, in ideological terms, to postimpressionism and expressionism, and came to be treated as a modern art form equal to Western art, which was then an object of longing.
At this time, it was not Imamura Shiko(1880~1916) and other Southern School-style painters but artists outside the Southern School circle who began viewing the Southern School style from a fresh angle and creating another new style. Moreover, artists producing works in the shin-nanga style were inspired not by the works of contemporary Southern School-style artists but by those active in the late Ming and early Qing periods in China and the Edo period in Japan. Re-assessment of these old paintings and old Southern School works spread through Japanese painting as a whole, even influencing contemporary Southern School-style painters. Shin-nanga paintings in the 1910s can be seen as having emerged due to interest in the Southern School style, aspiration toward contemporary styles like post-impressionism, demand for a new kind of painting, and the pursuit of free-style painting.
This study focuses on the appearance of shin-nanga (新南畵; “neo nanga”), a trend that occurred through the reappraisal of nanga in the late 1910s. Korean studies of shin-nanga have concentrated on identifying patterns of inf luence among Japanese nanga artists and circles that became active from the late 1920s. The definition of shin-nanga differs entirely according to period of emergence or artist, making it hard to generalize. In this study, therefore, I have examined the characteristics of shin-nanga by analyzing texts published in magazines and academic journals primarily from the 1910s, when the term first appeared.
Shin-nanga emphasized not only the formal characteristics of the Southern School but also the same spiritual aspects, such as qiyun shengdong (氣韻生動; “spirit resonance, life-motion”), character, and expression of subjective emotion. This was strongly related to the embrace of post-impressionism in Japan in the early 1910s. Modern painting in Europe after post-impressionism, which emphasized the selection and bold transformation of landscapes and other natural motifs, and pointillism, reminded Japanese painters of traditional Japanese nihonga (日本畵) and the Southern School style. As a result, the Southern School style, which had emerged as a tradition in Japan and Asia, was regarded as similar, in ideological terms, to postimpressionism and expressionism, and came to be treated as a modern art form equal to Western art, which was then an object of longing.
At this time, it was not Imamura Shiko(1880~1916) and other Southern School-style painters but artists outside the Southern School circle who began viewing the Southern School style from a fresh angle and creating another new style. Moreover, artists producing works in the shin-nanga style were inspired not by the works of contemporary Southern School-style artists but by those active in the late Ming and early Qing periods in China and the Edo period in Japan. Re-assessment of these old paintings and old Southern School works spread through Japanese painting as a whole, even influencing contemporary Southern School-style painters. Shin-nanga paintings in the 1910s can be seen as having emerged due to interest in the Southern School style, aspiration toward contemporary styles like post-impressionism, demand for a new kind of painting, and the pursuit of free-style painting.
목차
Ⅰ. 머리말
Ⅱ. 1910년대 신남화의 제작자
Ⅲ. 신남화의 제작 경향
Ⅳ. 今村紫紅와 신남화의 初期相
Ⅴ. 맺음말
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UCI(KEPA) : I410-ECN-0101-2018-609-000932065