인문학
사회과학
자연과학
공학
의약학
농수해양학
예술체육학
복합학
DBpia AI
AI 에이전트
AI 아이디어
AI 리더
AI 뷰어
Citeasy
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.
초록·키워드
This paper examines the correlation of the artist’s social role and colonial policy of Russian Empire, by analyzing a series of Turkestan paintings of Vasilii Vereshchagin. Prior to discussing, it examines ‘orientalism’ of Edward Said and preconditions. Through the process of conquering Turkestan in mid-19th century, images of central Asia were replaced from ‘riches of Orient’ that was a fantasy in Asia to poverty and backwardness, also conquest of Russia was justified as the meaning of ‘salvation.’ And it argues that Vereshchagin’s paintings have specific effects on formation of images that has a double meaning. Even though Vereshchagin’s paintings that have hold independent perception are against official images of Russian Empire for Turkestan and have conflicts with the government power, it is not hard to find his contributions in forming images of Turkestan. The paintings were the important passage for common Russians to understand Asia and Orient. Here were a lot of the exotic scenery, colorful landscapes of Turkestan, curious customs of the indigenous people in his painting, as well as visual representations of Turkestan itself, rather than the Russian Vereshchagin’s fantasy, fear, ignorance, and desire toward Turkestan, which are very contradictory feelings and collide with each other.
본문·목차
인공지능 문자 인식 모델을 통해 추출된 텍스트로, 일부 오타나 오류가 포함될 수 있으나 지속적으로 개선 중입니다.
오류를 발견하셨다면 해당 부분을 드래그한 후 ' 를 통해 신고해주세요.
오류를 발견하셨다면 해당 부분을 드래그한 후 ' 를 통해 신고해주세요.
최근 본 자료 전체보기
UCI(KEPA) : I410-ECN-0101-2014-309-000438525
