대구근대화단의 일본인 미술가의 규모와 한일 미술교류 = Japanese Artists in Daegu Modern Art World and Korean Japanese Art Exchange

다국어 초록 (Multilingual Abstract)

This paper focuses on Japanese artists in Daegu, who have been treated as peripheral to Daegu’s modern art history. My goal is to research the size of this Japanese population of artists and examine their exchanges with Korean artists in Daegu and Gyeongbuk. The history of Daegu art has naturally been focused on Koreans. However, considering the class advantage that colonial Japanese had on the Korean Peninsula at the time, Japanese artists may have been central to the Daegu art world at the time. The presence of Japanese and Korean artists in Daegu, their mutual influences and exchanges, have been pushed to the periphery in art history and not sufficiently dealt with. This paper raises the problem of this research bias and suggests that we need to have a more balanced and comprehensive view of the reality modern art in Daegu.
In this paper, I first identify the size of the population of Japanese artists in Daegu. Then, I examine how these artists interacted with Korean artists in Daegu and Gyeongbuk.
I have used the records of winners at the Joseon Art Exhibition(1922-1944) to estimate the size of the population of Japanese artists in Daegu and their influence. I listed the winning works from the first to the 23rd Joseon Art Exhibition from the Daegu-Gyeongbuk area in two groups: works by Koreans and Japanese. Then I analyzed the data on the number of selected works in each category: oriental painting, Western painting, calligraphy/the Four Gracious Plants, and sculpture/craft. Also, I examined the size of the art world by genre, the ratio of selected works between Japanese and Koreans, and the trends over time. In addition, I identified Japanese artists who were teachers at schools in Daegu to find out their social status.
After identifying the size of the population of Japanese artists, I classified their interactions with Korean artists into the following three types. The first type is the relationship between teachers and students. The second type is the relationship between colleagues in the art world, and the group exhibition and individual exhibition sponsorship. The third type is the production of joint works.
This paper demonstrates that there were many more Japanese artists than previously recognized in the Daegu art world at the time. They interacted with Korean artists in various areas, including education, exhibition, and production of works. As teachers and colonizers, Japanese artists influenced Korean artists. Japanese and Korean artists were also in competition with each other. However, I point out that their exchanges and relationships were much more diverse.
Korean and Japanese artists shared an art world, an art market, and a living space. So, I argue that if they are studied separately, our study of modern art history is incomplete. In sum, investigating and restoring into art history the presence of Japanese artists, while keeping the unequal power relationship between Korea and Japan in mind, and confirming various types of relationships between Korean and Japanese artists leads to a comprehensive understanding of the shape and character of Korean artists.

참고문헌 (Reference)

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