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This paper examines the cultural exchanges between the East and the West from around the 1850s to the 1930s. During this period, the East and the West both influenced and inspired the other’s culture through various routes. Especially, the collecting and display of Eastern art began to receive attention in the West in a modern context. The international expositions, which opened almost every other year both in Europe and the United States since 1851, played a crucial role in introducing East Asian art works to the Western audience. The East Asian art works, which had been available to only a limited and privileged group of people, were now available to the public’s viewing pleasure at the world expositions. It was through world expositions where Japanese elegant and subtle display of decorative arts caught the eyes of the Westerners. Japan, however, surprised the Westerners at the Paris Exposition of 1900 and the Louisiana Exposition of 1904 by showing traditional paintings and modern Western-style paintings instead of the usual decorative arts. This reveals Japan’s confidence as a modern country as he joined the ranks of the Western imperialists after the victories of the Sino-Japanese and Russo-Japanese wars. Unlike Japan, China did not attract much interest from Western countries. It was regarded as a country in decline and unresponsive to Western countries and idealism. Korea participated in the Chicago and Paris expositions in 1893 and 1900 yet remained a little known country.
It is also this period when the Western countries were able to built up a number of fine Eastern collections in their museums, either through acquisitions from dealers or from donations by individuals but, also from the excavation of Central Asia. While East Asian art was being collected and studied in the West, the collecting and displaying of Western art in Asia was only initiated by Japan. Japan began collecting Western art works, envisioning the dream of establishing a museum with a fine Western art collection. The West became an object of study.
During the period from the 1850s to the 1930s, The West began breaking free from the myth and the fantasy of the East which led to the serious study of the East, while the East realized that art could be more than an aesthetic object. It possessed the potential to built up the image of a nation. This was well exemplified by Japan, who was the most successful in promoting their national image as a equal to that of the West.
It is also this period when the Western countries were able to built up a number of fine Eastern collections in their museums, either through acquisitions from dealers or from donations by individuals but, also from the excavation of Central Asia. While East Asian art was being collected and studied in the West, the collecting and displaying of Western art in Asia was only initiated by Japan. Japan began collecting Western art works, envisioning the dream of establishing a museum with a fine Western art collection. The West became an object of study.
During the period from the 1850s to the 1930s, The West began breaking free from the myth and the fantasy of the East which led to the serious study of the East, while the East realized that art could be more than an aesthetic object. It possessed the potential to built up the image of a nation. This was well exemplified by Japan, who was the most successful in promoting their national image as a equal to that of the West.
목차
Ⅰ. 머리말
Ⅱ. 19세기의 박람회
Ⅲ. 서양에서의 동양미술품 수집
Ⅳ. 동양에서의 서양미술품 수집
Ⅴ. 맺음말
참고문헌
〈Abstract〉
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