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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The Japanese Ukiyo-e paintings of beauty represent conventional concept of beauty. Most of all these painters made their works of art which lie inside tbe bounds of their imaginary idealized beauty. As mentioned earlier this also reflects in me paintings of Hishikawa Moronobu, Suzuki Harunobu and Kitakawa Utamaro's (excluding some parts) and others'. They daim that they had sketched the existing model and tried to reflect me reality on this, but, strictly speaking, only me naming of me paintings is different. It still is hard to find each model's individual characteristics, and except me differences of the costume, hairstyle, and poses of the models me same painter drew in same period, women's outlook visualized on the paintings is quite similar in most of their works. This kind of depiction of conventional sentiments is not only confined to me Ukiyo-e painters, but has also influenced to Kaigetsudo school and same kinds of groups. If Ukiyo-e is destined to catch fluctuating public's taste, they had to create their work of art that aligns with me a-end of their time. Given me fact that the look of me beauty mat Ukiyo-e drew had lasted for about 10 years and changed the preferences had continually changed at that time like today.
Considering all these facts, me facial expression of the beauty in Utamaro s work cannot possibly be outside the bounds of type (their imaginary idealized beauty). and is extremely difficult to find the originality of women in his paintings, However, Utamaro was aware of the figure he tried to express which was far beyond the mere portrait that only focuses on matching dTe names and looks of the figure. And he created the new ideal through capturing and depicting women's emotion and state of mind in his works. This striking effects and expressiveness are tile things that tile previous Ukiyo-e paintings had never achieved before. In those points his paintings have great significance in tile history of an.
Considering all these facts, me facial expression of the beauty in Utamaro s work cannot possibly be outside the bounds of type (their imaginary idealized beauty). and is extremely difficult to find the originality of women in his paintings, However, Utamaro was aware of the figure he tried to express which was far beyond the mere portrait that only focuses on matching dTe names and looks of the figure. And he created the new ideal through capturing and depicting women's emotion and state of mind in his works. This striking effects and expressiveness are tile things that tile previous Ukiyo-e paintings had never achieved before. In those points his paintings have great significance in tile history of an.
목차
머리말
浮世繪라는 명칭에 대해서
浮世繪의 源流: 菱川師宣에 대해서
錦繪와 鈴木春信
大首繪와 喜多川歌?
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UCI(KEPA) : I410-ECN-0101-2010-650-002620334