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크롬 서지관리 다운로드
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.
학술저널
DBpia Top 10%
오류 신고하기해당 페이지 내 제목·저자·목차·페이지정보가 잘못된 경우 알려주세요!
초록·키워드
Geumgangsan(Mt. Geumgang), long revered as a sacred Buddhist site and a sublime landscape since the mid-Goryeo period, became promoted in the 1910s—under Japanese colonial rule—as both an imperial spectacle and a global tourist destination. In this context, it emerged as a subject of modern visual culture and landscape painting, linked to imperial beautification and colonial development propaganda through popularization and international exposure. Visual representations of Geumgangsan began to appear around 1910–1912, centered on photographic media such as albums and postcards, and expanded through lantern slides, motion pictures, and panoramas. By 1914, Japanese artists, drawn to Geumgangsan as an exotic and picturesque site, contributed to the spread of landscape imagery through mass media sketches and exhibitions like the “Geumgangsan Sketch Exhibitions.” These artists often framed the mountain’s scenic qualities as “Eastern” and akin to Southern School aesthetics. Korean painters engaged with these discourses while continuing the traditional genre of Geumgangsan-do. Around 1918, artists such as An Jung-sik, Jo Seok-jin, Yi Do-yeong, Go Hui-dong, and Kim Gyu-jin began sketching excursions, combining realist approaches with both traditional and Japanese techniques— Kim being particularly proactive in adopting the latter. By the early 1920s, Kim Ye-sik introduced a hyperrealist landscape style influenced by photographic painting, marking a new phase in Geumgangsan imagery. His works, while shaped by modern Japanese aesthetics, also resonate with Korea’s portrait traditions and the lineage of sagyung(lit: capturing the scene)-style real-view landscape painting.
본문·목차
인공지능 문자 인식 모델을 통해 추출된 텍스트로, 일부 오타나 오류가 포함될 수 있으나 지속적으로 개선 중입니다.
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