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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2018.7
- 수록면
- 7 - 36 (30page)
- DOI
- 10.46834/jkmcah.2018.07.35.7
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초록· 키워드
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This study examines the questions around the intervention of Japanese colonialism in Korean modern painting, manifested in the images of children in paintings shown in the Joseon Art Exhibition. While previous studies on the influence of Japanese colonialism in Korean modern art has focused on the distorted expressions of “Joseon-ness,” this study concentrates on the Japanese colonialism that operated in close conjunction with the question of the class.
Although depictions of children’s labor appear often in the Joseon Art Exhibition, it is rare to find a direct and vivid depiction that captures the moment of children’s labor. This alludes to the fact that the paintings of the Joseon Art Exhibition are related to the consumer culture of the city of Gyeongseong, that began to take its form around the 1920s. Presented as a spectacle of popular visual culture, much emphasis was given to the visual aesthetics of the scene of the labor than to the labor itself.
The images of children’s labor shown at the Joseon Art Exhibition can be regarded as an outcome of the disciplinary power of Japanese Imperialism, considering the contrast between the absence of the vivid depiction of children"s labor and the aestheticized images of children"s labor. In fact, the representation of children as working class is commonly found in the realm of popular culture in the early 1930s, namely discourse of children"s literature, illustrations in the popular magazine, and paintings presented at the Proletarian Art Exhibition. Contrastingly, similar images were not shown at Joseon Art Exhibition ― this is an indication of censorship by Japanese Imperialism.
In terms of class, Japanese colonialism is manifested not in the expressions of “Joseonness” based on distorted understandings, but rather in the pursuit of authentic “Joseon-ness.” For example, Lee In-sung’s From a Mountain Valley in Gyeongju reveals the aspirations to transcend the self in the concrete reality by featuring national symbols instead of portraying the reality. These aspirations cannot be called imperialistic, however, such aspirations formed the backbone of the mindset of the intellectuals of the time who approved the Asianism suggested by Japanese Imperialism.
Although depictions of children’s labor appear often in the Joseon Art Exhibition, it is rare to find a direct and vivid depiction that captures the moment of children’s labor. This alludes to the fact that the paintings of the Joseon Art Exhibition are related to the consumer culture of the city of Gyeongseong, that began to take its form around the 1920s. Presented as a spectacle of popular visual culture, much emphasis was given to the visual aesthetics of the scene of the labor than to the labor itself.
The images of children’s labor shown at the Joseon Art Exhibition can be regarded as an outcome of the disciplinary power of Japanese Imperialism, considering the contrast between the absence of the vivid depiction of children"s labor and the aestheticized images of children"s labor. In fact, the representation of children as working class is commonly found in the realm of popular culture in the early 1930s, namely discourse of children"s literature, illustrations in the popular magazine, and paintings presented at the Proletarian Art Exhibition. Contrastingly, similar images were not shown at Joseon Art Exhibition ― this is an indication of censorship by Japanese Imperialism.
In terms of class, Japanese colonialism is manifested not in the expressions of “Joseonness” based on distorted understandings, but rather in the pursuit of authentic “Joseon-ness.” For example, Lee In-sung’s From a Mountain Valley in Gyeongju reveals the aspirations to transcend the self in the concrete reality by featuring national symbols instead of portraying the reality. These aspirations cannot be called imperialistic, however, such aspirations formed the backbone of the mindset of the intellectuals of the time who approved the Asianism suggested by Japanese Imperialism.
목차
Ⅰ. 들어가며
Ⅱ. 노동과 연관된 어린이 이미지와 도시 경성의 소비문화
Ⅲ. 재현되지 않은 이미지와 일제의 규율권력
Ⅳ. 일제 식민주의와 조선적인 것
Ⅴ. 나가며
참고문헌
Abstract
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