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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 미술사연구회 미술사연구 미술사연구 제39호
- 발행연도
- 2020.12
- 수록면
- 295 - 320 (26page)
- DOI
- 10.52799/JAH.2020.12.39.295
이용수
초록· 키워드
오류제보하기
This study focuses on the Japanese painter Matsuda Reiko(松田黎光), who had been active in modern Gyeongseong, and his works, especially on the ‘Joseon Genre Painting’ which he began to intensively paint from the 1930s. He resided in Joseon for nearly 20 years and showed his capability as a painter through Joseon Art Exhibition; he affected the direction of Eastern Painting Department of Joseon Art Exhibition as an aid to the jury (who were the Japanese judges from mainland Japan). However, his death in Joseon before the Korean independence limited the attention given to the painter in both Korea and Japan; sufficient academic approach is yet to be made due to lack of the present data. As this paper has focused on Matsuda Reiko: he was born in Kyoto and had originally accepted the attitude of Japanese-Western fusion based on the tradition and conservatism of Kyoto painters, painting flower-and-bird painting in detailed and realistic style even until immediately after his move to Joseon. However, gradually he began to paint ‘Joseon Genre Painting,’ describing the customs of Joseon added with the narrative and lyrical sensibility of Yamato-e, based on his research of the past and present of Joseon, as well as the customs in the city and the countryside. Another possible influence is the tendency of classic coverage by Matsumoto Ichiyo(梥本一洋) and Tsuchida Bakusen(土田麦僊), teachers he learned from in Kyoto; Matsuda Reiko shows a tendency to frequently exchange with the Kyoto Artists even after his move to Joseon.
By the modern period, customs of Joseon had been categorized, researched, and commercialized by foreign perspective. Along with Matsuda Reiko, Japanese who resided in Joseon, considering themselves as cultural mediators between Joseon and Japan, took the lead in creating the ‘Joseon Genre Painting,’ a new genre of customs of Joseon created and consumed by the Japanese. Furthermore, Matsuda Reiko gradually attempted the combination of Joseon-istic materials with painting forms that emphasize the Japanese tradition in technique, such as Yamato-e, Ukiyo-e, and Emaki; it is believed that in this process, the birth of by-product of hybrid history, such as 《Joseon Genre Woodblock Prints》, has been witnessed.
By the modern period, customs of Joseon had been categorized, researched, and commercialized by foreign perspective. Along with Matsuda Reiko, Japanese who resided in Joseon, considering themselves as cultural mediators between Joseon and Japan, took the lead in creating the ‘Joseon Genre Painting,’ a new genre of customs of Joseon created and consumed by the Japanese. Furthermore, Matsuda Reiko gradually attempted the combination of Joseon-istic materials with painting forms that emphasize the Japanese tradition in technique, such as Yamato-e, Ukiyo-e, and Emaki; it is believed that in this process, the birth of by-product of hybrid history, such as 《Joseon Genre Woodblock Prints》, has been witnessed.
목차
Ⅰ. 머리말
Ⅱ. 교토화단의 사생적 화조화풍 추구
Ⅲ. 인물 · 풍속 소재로의 이행
Ⅳ. 《조선풍속목판화》의 제작과 그 의미
Ⅴ. 맺음말
참고문헌
〈Abstract〉
참고문헌 (31)
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