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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 제53호
- 발행연도
- 2021.12
- 수록면
- 57 - 82 (26page)
- DOI
- 10.14380/AHF.2021.53.57
이용수
초록· 키워드
오류제보하기
Most Chinese painting histories written in the West in the early 20th century define the Tang and Song dynasties, especially the Song dynasty, as the pinnacle of Chinese art. In general, the rules of canon in art history are agreed upon by the interaction between academic achievements and art mechanisms such as art museums, art markets, and art education. However, in the early 20th century, Chinese art was not sufficiently distributed or educated in Western society. Therefore, understanding how scholars’ viewpoints were formed under these conditions is an example of what the discipline of art history depends on in a specific situation.
Japan was the first country to publish the history of Chinese art, including the history of Chinese painting. What is noteworthy is the fact that the viewpoint of Japanese academics has changed from Tang-Song in the late Meiji period to the Yuan zenith theory of the early Taisho period, and there was a political intention behind this background. Although Western researchers had no political intentions, they were greatly influenced by Japanese publications such as Histoire de l’art du Japon and the Japanese and English versions of Kokka . Accordingly, in the early Chinese painting history in the West, the view of the Song dynasty as the apex was dominant. And it is inferred that the reason why the Yuan zenith theory was not accepted in the West was due to Western art history which viewed the Renaissance as the apex, and the prejudice against literati painting. In other words, it can be said that the Western Chinese painting history in the early 20th century was formed by the insufficient data for knowledge accumulation, the cultural power of Japanese art history academia, and the prism of Western art history.
Japan was the first country to publish the history of Chinese art, including the history of Chinese painting. What is noteworthy is the fact that the viewpoint of Japanese academics has changed from Tang-Song in the late Meiji period to the Yuan zenith theory of the early Taisho period, and there was a political intention behind this background. Although Western researchers had no political intentions, they were greatly influenced by Japanese publications such as Histoire de l’art du Japon and the Japanese and English versions of Kokka . Accordingly, in the early Chinese painting history in the West, the view of the Song dynasty as the apex was dominant. And it is inferred that the reason why the Yuan zenith theory was not accepted in the West was due to Western art history which viewed the Renaissance as the apex, and the prejudice against literati painting. In other words, it can be said that the Western Chinese painting history in the early 20th century was formed by the insufficient data for knowledge accumulation, the cultural power of Japanese art history academia, and the prism of Western art history.
목차
Ⅰ. 머리말
Ⅱ. 근대기 일본 학자들의 중국회화사 정점기 규정
Ⅲ. 서구 학자들의 초기 중국회화사
Ⅳ. 서구 학계의 당송정점론 형성 배경
Ⅴ. 맺음말
참고문헌
ABSTRACT
참고문헌 (16)
참고문헌 신청
김용철 / 2019 / 근대 일본의 문인화(文人畵) 담론과 중국회화의 유입 / 일본연구 (32):387~411
먹시, 키스 / 2008 / 이론의 실천 / 현실문화
中村不折 / 1913 / 支那繪畵史 / 玄黃社
Bachhofer, Ludwig / 1946 / A Short History of Chinese Art / B. T. BAtsford, Ltd.
Binyon, Lawrence / 1908 / Painting in the Far East: An Introduction to the history of Pictorial Art in Asia, especially China and Japan / Edward Arnold & Co.
먹시, 키스 / 2008 / 이론의 실천 / 현실문화
中村不折 / 1913 / 支那繪畵史 / 玄黃社
Bachhofer, Ludwig / 1946 / A Short History of Chinese Art / B. T. BAtsford, Ltd.
Binyon, Lawrence / 1908 / Painting in the Far East: An Introduction to the history of Pictorial Art in Asia, especially China and Japan / Edward Arnold & Co.
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
HISTORY, CULTURE AND ARTS
한국기초조형학회 작품집
2024 .01
-
외국미술사를 어떻게 넓고 깊이 있게 읽을 것인가-중국 미술대학의 『외국미술간사』를 중심으로 한 교과과정내용연구
기초조형학연구
2023 .10
-
Art can do it!
한국기초조형학회 작품집
2024 .08
-
Art is everywhere
한국기초조형학회 작품집
2024 .08
-
become art
한국기초조형학회 작품집
2018 .11
-
20세기 초 독일미술사 문헌이 그린 한국미술 지형도
미술사논단
2024 .12
-
근대기 한국과 중국의 미술사 서술 : 고유섭(高裕燮)과 텅구(滕固)를 중심으로
미술사논단
2023 .06
-
P-HISTORY 1
한국기초조형학회 작품집
2024 .11
-
[History] 그 때를 아십니까?
월간사진
2016 .03
-
[History] 그·때·를·아·십·니·까?
월간사진
2016 .05
-
[History] 그·때·를·아·십·니·까 ?
월간사진
2016 .07
-
[History] 그 때를 아십니까?
월간사진
2016 .01
-
[History] 그·때·를·아·십·니·까?
월간사진
2016 .06
-
[History] 그 때를·아십니까 ?
월간사진
2016 .02
-
한국 현대미술사에서 페미니즘 연구사
미술사논단
2020 .06
-
The Combination of Chinese Traditional Pentatonic Rhythm and New Media Art
TECHART: Journal of Arts and Imaging Science
2021 .08
-
East Asian Art History in the United States:Art History Beyond Nation
동악미술사학
2017 .06
-
Reconstructing Art Criticism in Korea : A Proposal for Selecting Agenda for Art Criticism in Korea
한국예술연구
2018 .02
-
기야 이방운의 《정미년(丁未年) 사계산수도첩(四季山水圖帖)》 연구
미술사와 문화유산
2016 .02
-
아시아의 ‘또 다른’ 회화(繪畫)에 대하여
미술사논단
2023 .06
이 논문의 저자 정보
최근 본 자료
댓글(0)
0