개인구독
소속 기관이 없으신 경우, 개인 정기구독을 하시면 저렴하게
논문을 무제한 열람 이용할 수 있어요.
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
Japan put an end to their seclusion policy by concluding the Convention of Peace and Amity between the United States of America and the Empire of Japan in 1854. Accordingly, at the first year of Meiji era (1868), the five ports in Japan had been opened to the foreign countries; which were Yokohama, Hakodate, Kobe, Nagasaki and Niigata. This paper is focusing on “Yokohama Shashin”, the photographs that had brought back to the United States from Yokohama in the late 19th century.
“Yokohama Shashin” refers to the commercial photographs shot as souvenirs for the tourist or the foreign residents of the Yokohama settlement in Japan. Its motif was “Old Japan”, the premodern images as well as the foreigners’ expected “authentic” Japanese sceneries. They bought “Yokohama Shashin” to confirm and memorize these images. It is said that Felice Beato and Shimooka Renjo have inaugurated this “Yokohama Shashin”.
Charles Appleton Longfellow(1844-1893), son of the famous American poet, stayed in Japan from 1871 to 1873 and brought home over 350 photographs including his own and his mistresses’ portraits most probably shot by Beato. The poses of mistresses were mimicking Japanese women seen in “Yokohama Shashin”, and his portrait in kimono is identical to that of “Yokohama-e”, the portrait-paintings of foreigners visiting Yokohama depicted by Japanese painters in those days. The faces drawn in “Yokohama-e” had applied foreigners’ images from their own photographs; and at all times the figures were in kimono. “Yokohama-e” was a souvenir for foreigners in the same way as “Yokohama Shashin”. The Photographs Charles brought home from Japan present his idealized viewpoint toward Japanese women, and his selfconsciously created image of exotic “Good Old Japan”.
John La Farge (1853-1910), an American painter, visited Japan with his historian friend, Henry Adams, in 1886. His essays with his own illustrations were appeared as “An Artist’s Letters from Japan” in Century Magazine from 1890 to 1893. Some of his illustrations were directly based on “Yokohama shashin”. La Farge worked on watercolor illustrations after returning to the United States with referring to the commercial photographs he brought back, as if he painted them from his own sketches drawn in Japan. Therefore, it is possible to say that his perspectives on Japan were depended heavily on from the images of “Old Japan”, which he believed to be “authentic”. This paper aims to reveal the Japanese images in the United States around the late 19th century by analyzing these examples.
“Yokohama Shashin” refers to the commercial photographs shot as souvenirs for the tourist or the foreign residents of the Yokohama settlement in Japan. Its motif was “Old Japan”, the premodern images as well as the foreigners’ expected “authentic” Japanese sceneries. They bought “Yokohama Shashin” to confirm and memorize these images. It is said that Felice Beato and Shimooka Renjo have inaugurated this “Yokohama Shashin”.
Charles Appleton Longfellow(1844-1893), son of the famous American poet, stayed in Japan from 1871 to 1873 and brought home over 350 photographs including his own and his mistresses’ portraits most probably shot by Beato. The poses of mistresses were mimicking Japanese women seen in “Yokohama Shashin”, and his portrait in kimono is identical to that of “Yokohama-e”, the portrait-paintings of foreigners visiting Yokohama depicted by Japanese painters in those days. The faces drawn in “Yokohama-e” had applied foreigners’ images from their own photographs; and at all times the figures were in kimono. “Yokohama-e” was a souvenir for foreigners in the same way as “Yokohama Shashin”. The Photographs Charles brought home from Japan present his idealized viewpoint toward Japanese women, and his selfconsciously created image of exotic “Good Old Japan”.
John La Farge (1853-1910), an American painter, visited Japan with his historian friend, Henry Adams, in 1886. His essays with his own illustrations were appeared as “An Artist’s Letters from Japan” in Century Magazine from 1890 to 1893. Some of his illustrations were directly based on “Yokohama shashin”. La Farge worked on watercolor illustrations after returning to the United States with referring to the commercial photographs he brought back, as if he painted them from his own sketches drawn in Japan. Therefore, it is possible to say that his perspectives on Japan were depended heavily on from the images of “Old Japan”, which he believed to be “authentic”. This paper aims to reveal the Japanese images in the United States around the late 19th century by analyzing these examples.
목차
I. 들어가는 말
Ⅱ. 사진 기술의 유입
Ⅲ. 요코하마 사진
Ⅳ. 요코하마에
Ⅴ. 존 라 파지(John La Farge)와 요코하마 사진
Ⅵ. 나가는 말
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
「輸出された日本イメ-ジ - 幕末 · 明治の橫浜とアメリカ -」
한국근현대미술사학
2015 .07
-
도시재생지역 근대거리 공공사인 색채 사례연구 - 인천, 군산, 요코하마, 고베 근대거리를 중심으로
한국색채학회논문집
2019 .11
-
철도로 본 도쿄의 근대화
한국문화공간건축학회논문집
2015 .01
-
호리노 마사오(堀野正雄)의 신흥사진(新興写真)과 조선
미술사와 시각문화
2018 .01
-
Souvenir Photograph
한국기초조형학회 작품집
2024 .07
-
시각장애인을 배려한 지하철역 공공사인 컬러유니버설디자인 현황 분석 - 서울시와 도쿄, 요코마하시의 주요 역사의 비교를 중심으로
한국색채학회논문집
2019 .05
-
건판사진을 위시한 문화재 복원용 사진 분광특성 표준화
현대사진영상학회 논문집
2023 .04
-
자외선조사를 통한 사진이미지의 내구성 분석
현대사진영상학회 논문집
2016 .01
-
재일한국인 축구선수들의 민족정체성 연구
한국사회체육학회지
2015 .02
-
자연적 물성을 이미지로 재현하는 사진적 연구 - 사진연작 <낮고, 빠르게 쏘기>를 중심으로 -
AURA
2021 .01
-
Illustration “Self Portrait”
한국기초조형학회 작품집
2019 .11
-
지하철 공공 사인색채의 컬러유니버설디자인 현황 분석 : 요코하마역을 대상으로
한국색채학회 학술대회
2018 .05
-
오브제를 활용한 사진 표현 방법 연구 -카본 프린트를 중심으로-
AURA
2023 .02
-
식민지시대 한 · 중 · 일 시각매체 분석을 통한 ‘제국’이미지 비교연구 - 기록화, 일러스트, 만화를 중심으로
만화애니메이션 연구
2021 .03
-
사진저작권의 침해에 있어 창작성 판단의 기준 - 창작성 판단의 두 가지 단계를 중심으로 -
AURA
2021 .01
-
일제강점기 해외 풍자만화를 통해 구축된 조선의 표상 -대한제국 시기를 중심으로-
만화애니메이션 연구
2022 .12
-
인물사진에서의 시간인식과 인물간의 교감에 관하여 - Thirty-Minute Dialog, One-Hour Portrait 시리즈를 중심으로 -
AURA
2021 .01
-
시간과 기억의 풍경 군함도의 사진표현
현대사진영상학회 논문집
2017 .01
-
Japanese KIMONO accessories
International Invitation Exhibition of Color Works
2024 .11
-
일제 전시기의 식민권력과 무도교육의 실상(1931~1945)
한국체육과학회지
2017 .04
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0