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.
이용수
초록· 키워드
오류제보하기
The distribution of antique art in modern Korea is deemed to have begun in earnest around the 1900s with the entry into the country of Japanese antique art dealers. Antique art dealing and distribution in modern Korea after the 1900s changed every decade or so, and the 1930s in particular was the period of the business’s greatest boom.
The Japanese dominated the antique art business in the Japanese colonial era art market, but after the 1930s the number of Korean collectors gradually increased and the Japanese and Koreans formed the double structure of its customer base. The Gyeongseong Art Club, an art auction company established by Japanese antique art dealers in 1922, played an important role in the antique art business at the time.
Japanese collectors of the colonial era were diverse, ranging from high officials in the Japanese colonial government to ordinary citizens, and there were many collectors not only in Gyeongseong but also in the provinces. They were able to collect many pieces of art during the 1920s~30s period when business was booming in antique art dealing. Together with a detailed investigation of their personal data, activities and collection records, a comparative analysis of Japanese and Korean collectors is expected to deepen our understanding of the establishment and the structure of Korea’s art market in modern and contemporary times.
The Japanese dominated the antique art business in the Japanese colonial era art market, but after the 1930s the number of Korean collectors gradually increased and the Japanese and Koreans formed the double structure of its customer base. The Gyeongseong Art Club, an art auction company established by Japanese antique art dealers in 1922, played an important role in the antique art business at the time.
Japanese collectors of the colonial era were diverse, ranging from high officials in the Japanese colonial government to ordinary citizens, and there were many collectors not only in Gyeongseong but also in the provinces. They were able to collect many pieces of art during the 1920s~30s period when business was booming in antique art dealing. Together with a detailed investigation of their personal data, activities and collection records, a comparative analysis of Japanese and Korean collectors is expected to deepen our understanding of the establishment and the structure of Korea’s art market in modern and contemporary times.
목차
Ⅰ. 머리말
Ⅱ. 일제강점기의 미술시장
Ⅲ. 경성미술구락부의 설립과 활동
Ⅳ. 일제강점기의 일본인 수장가
Ⅴ．맺음말
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Abstract
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UCI(KEPA) : I410-ECN-0101-2015-600-002662209