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
오류제보하기
Landscape painting in the Western sense emerged in Korea together with the introduction of new media such as oil and watercolour. Paintings that involved taking one’s equipment out into nature and painting scenes through direct observation were able to vividly incorporate natural light and the emotions felt by the artist her/himself in nature, things that were absent from traditional East Asian Sansuhwa (landscape painting). Such modern landscape paintings are generally categorized as Impressionism. Oh Chiho and Kim Chu-keung are cited as leading artists of the genre, with their landscape paintings interpreted as embodiments of nationalist consciousness. This study, however, questions that perspective. Although the landscapes of Oh and Kim do bear a degree of similarity to Western Impressionist works in their expression of light and their divided brush strokes, they show differences in terms of subject and content. Taking them to be expressions of nationalist consciousness or resistance on the part of their artists, in particular, appears to strain the bounds of credulity. Oh did attempt to express Korea’s pure, bright air and nature, and Kim did once say, “The people of Korea knew Korea well and expressed the Korean ‘mind,’” but this cannot be taken in isolation from the fact that Japanese judges at the Joseon Art Exhibition held annually during the period of Japan’s colonial occupation of Korea demanded that participating artists paint “the unique nature of Korea” or emphasized the need to “paint clearly the bright mountains and streams of Korea.” Attempts to express the sentiment and mood of the Korean people through the country’s nature actually share common points with Okakura Kakuzo’s view of nature, which located the basis of East Asian thought in nature rather than humans. Such attempts also fall under the field of influence of the type of “naturalist” landscape painting aimed for by Kuroda Seiki and Fujishima Takeji, and overlap with the expressions of Korean local colour demanded by Japanese imperial authorities.
목차
Ⅰ. 머리말
Ⅱ. 일본의 ‘자연주의적’ 풍경화: 풍경화와 ‘일본적인 것’의 결합
Ⅲ. 조선의 ‘자연주의적’ 풍경화: 자연에서 감득한 조선의 정취
Ⅳ. ‘자연주의적’ 풍경화: 민족주의와 식민주의 사이의 시선
Ⅴ. 맺음말
참고문헌
〈Abstract〉
참고문헌 (1)
참고문헌 신청
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2015-600-000980262