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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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2019.12
- 수록면
- 33 - 57 (25page)
- DOI
- 10.46834/jkmcah.2019.12.38.33
이용수
초록· 키워드
오류제보하기
Oriental painting, which was created as a genre of modern art symmetrical to western painting of the early 20th century, contains in its name the desire of calligraphers and painters in the modern transitional period to become a university entity. Under the circumstances of failing to construct a modern nation, painters wished to participate in the universal art world as part of paintings of a new civilization centered on Japan, or in other words, as part of Oriental painting. ‘Oriental painting’ was also given the role of succeeding traditional paintings and calligraphy. As Joseon/Korean art was divided not into ‘painting’ but ‘Oriental painting’ and ‘Western painting’, Oriental painting gained the contradicting identity of a "universal" painting containing national ‘uniqueness’, in other words, having to become both ‘special’ and ‘universal’. At this time, there were tendencies for the ‘Koreanity’ and ‘Oriental’ to overlap, thus having unclear borders.
Oriental painters recognized scientific realism of western painting as the universality of modern painting, and based on this, sought to transform into universal painting. Therefore, Japanese painting styles that used nature-derived realism and abundant colors contained two different meanings in that it was art of the colonial country, as well as the universal painting styles of modern times. Coming into the late 1930s, trends of exploring the possibility of ‘mental expression of artists’ without going beyond recreation of objects also began to appear. This can be said to be a different mode compared to western painters of Joseon in which Orientalism was spreading.
After liberation, the movement of reestablishing Oriental painting, which collapsed together with Japan’s defeat in the war, as Korean painting surfaced. This was carried out in a method that excluded the existence of ‘Japan’ that played the central role in the scope of the ‘orient’. In addition, the realism tendencies in the colonial period were criticized as remnants of the colonial period, and therefore, pre-modern Joseon and Chinese cultural paintings became the new universal traditions of Oriental painting.
Oriental painters recognized scientific realism of western painting as the universality of modern painting, and based on this, sought to transform into universal painting. Therefore, Japanese painting styles that used nature-derived realism and abundant colors contained two different meanings in that it was art of the colonial country, as well as the universal painting styles of modern times. Coming into the late 1930s, trends of exploring the possibility of ‘mental expression of artists’ without going beyond recreation of objects also began to appear. This can be said to be a different mode compared to western painters of Joseon in which Orientalism was spreading.
After liberation, the movement of reestablishing Oriental painting, which collapsed together with Japan’s defeat in the war, as Korean painting surfaced. This was carried out in a method that excluded the existence of ‘Japan’ that played the central role in the scope of the ‘orient’. In addition, the realism tendencies in the colonial period were criticized as remnants of the colonial period, and therefore, pre-modern Joseon and Chinese cultural paintings became the new universal traditions of Oriental painting.
목차
Ⅰ. 들어가며 : ‘한국성’과 ‘동양성’ 그 애매한 경계
Ⅱ. 1910년대-1940년대 전반의 ‘동양화’ 개념
Ⅲ. 1940년대 후반 해방공간의 ‘동양화’ 개념
Ⅳ. 나오며
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2020-605-000262432