동양이 서양을 만나다 : 미술품 수집과 전시, 1850~1930

다국어 초록 (Multilingual Abstract)

This paper examines the cultural exchanges between the East and the West from around the 1850s to the 1930s. During this period, the East and the West both influenced and inspired the other’s culture through various routes. Especially, the collecting and display of Eastern art began to receive attention in the West in a modern context. The international expositions, which opened almost every other year both in Europe and the United States since 1851, played a crucial role in introducing East Asian art works to the Western audience. The East Asian art works, which had been available to only a limited and privileged group of people, were now available to the public’s viewing pleasure at the world expositions. It was through world expositions where Japanese elegant and subtle display of decorative arts caught the eyes of the Westerners. Japan, however, surprised the Westerners at the Paris Exposition of 1900 and the Louisiana Exposition of 1904 by showing traditional paintings and modern Western-style paintings instead of the usual decorative arts. This reveals Japan’s confidence as a modern country as he joined the ranks of the Western imperialists after the victories of the Sino-Japanese and Russo-Japanese wars. Unlike Japan, China did not attract much interest from Western countries. It was regarded as a country in decline and unresponsive to Western countries and idealism. Korea participated in the Chicago and Paris expositions in 1893 and 1900 yet remained a little known country.
It is also this period when the Western countries were able to built up a number of fine Eastern collections in their museums, either through acquisitions from dealers or from donations by individuals but, also from the excavation of Central Asia. While East Asian art was being collected and studied in the West, the collecting and displaying of Western art in Asia was only initiated by Japan. Japan began collecting Western art works, envisioning the dream of establishing a museum with a fine Western art collection. The West became an object of study.
During the period from the 1850s to the 1930s, The West began breaking free from the myth and the fantasy of the East which led to the serious study of the East, while the East realized that art could be more than an aesthetic object. It possessed the potential to built up the image of a nation. This was well exemplified by Japan, who was the most successful in promoting their national image as a equal to that of the West.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 19세기의 박람회
• Ⅲ. 서양에서의 동양미술품 수집
• Ⅳ. 동양에서의 서양미술품 수집
• Ⅴ. 맺음말
• 참고문헌
• 〈Abstract〉

참고문헌 (Reference)

1 이구열, "한국문화재수난사" 돌베개 1996

2 국립문화재연구소, "프랑스국립기메동양박물관소장한국문화재" 국립문화재연구소 1999

3 피터홉커크, "실크로드의악마들" 사계절 2000

4 김영나, "서양과의첫만남, 1893년시카고만국박람회와1900년파리박람회의조선관전시. in: 한국근대미술과 시각문화" 조형교육 13-56, 2002

5 하세봉, "근대 박람회에서 개최 도시와 공간의 의미" 한국민족문화연구소 (21) : 257-291, 2003

6 미야자키가츠미, "西洋繪畵の到來" 日本經濟出版社 2007

7 林忠正實行委員會, "林忠正ジャポニスムと文化交流" ブリユツケ 2007

8 다키 고지, "日本近現代美術史事典" 東京書籍 2007

9 Portal, Jane, "Unveiling the Hermit Kingdom: a Century of Collecting Korean Art" (37) : 16-21, 2000

10 Chist, Carol Ann, "The Sole Guardians of the Art Inheritance of Asia: Japan and China at the St. Louis World’s Fair" 8 (8): 675-676, 2000

11 Put, Max, "Plunder and Pleasure, Japanese Art in the West 1860-1930" Hotei Pulishing 2000

12 "Japan Goes to the World Fairs, Exh. Cat. Los Angeles Museum of Art"

13 Cohen, Warren I, "East Asian Art and American Culture" Columbia University Press 1992