『眞美大觀』과 일본 고대 불교조각 = The Selected Relics of japanese Art and the Ancient Buddhist Sculpture in Japan

다국어 초록 (Multilingual Abstract)

The first illustrated art catalogues in Japan, the Selected Relics of Japanese Art(Shinbi Taikan, 『眞美大觀』) was published from 1899. Until 1908, the publisher Shimbi shoin(審美書院) had completed all 20 books in the set. This set of the illustrated art catalogues can be highly valued as the first publication in Japan, which had established the foundation of Japanese art history during the Meiji(明治) period. These series presented almost every significant art works from the earliest times to the end of the Tokugawa(德川) period. The publisher said in the introductory remarks that they collected the important art relics from the Buddhist temples in Nara(奈良) and Kyoto (京都) and the private collections.
All the books which bound Japanese style, have two types of plates, the foldout collotype plates on thick paper and the non-foldout collotype plates on thin woven paper folded over a sheet of thicker backing paper. And each plates are protected by a very thin paper like a tissue on which is printed the description and explanation on the plate in Japanese and English. The pictures in the books were photographed and collotyped by Ogawa Kazumasa(小川一眞) who participated in 'the survey and investigation of treasures in Ginki province(近畿寶物調査)' from 1888 with Ernest E. Fenollosa and Okakura Tenshin(罔倉天心). The photographs that Ogawa had taken during those periods were used several times in the publications including the Selected Relics of Japanese Art and the Histoire de l'Art du Japon. The publications with the collotyped photographs of Ogawa show us the first photographic reproduction of cultural property and the visual popularization through those photographs.
From the Meiji period, the Japanese bureaucrats and intellectuals who served the government thought that the Buddhism and its art were equal to the Christianism. Therefore they argued the most important culture in Asia was the Japanese Buddhist art which the Japanese had preserved for a long time. In this point of view, the editors of the series, the Selected Relics of Japanese Art, chose the image of the Shakya(釋迦) triad in Kondo(金堂) of Horyuji(法隆寺) as the first plate in the book, volume one. Whether the art works could be a model for the artists was the only significant standard for the selection of the art works for the books. And the editorial boards regarded the ancient ones as the classic, which could be worth while for the scholars to investigate.
Shimbishoin informed that the Selected Relics of Japanese Art was awarded the Gold Prize for printing in the 1900 Paris World Exposition. The series, which were the first illustrated art catalogues that fitted with the policy of the Meiji government, were the publication that opened the beginning of reproduction and distribution of cultural assets by photographs. Also the series projected by semi-governmental management were a visual embodiment of the Japanese art history constructed in the Meiji period.

목차 (Table of Contents)

• Ⅰ. 日本 최초의 圖錄 『眞美大觀』
• Ⅱ. 서문을 통해 본 『眞美大觀』의 간행 목적
• Ⅲ. 『眞美大觀』의 작품 선정과 편집 방침
• Ⅳ. ‘미술의 모범’으로서의 고대 불교조각
• Ⅴ. 성공적인 ‘문명국 일본’의 과시
• 참고문헌
• ABSTRACT

참고문헌 (Reference)

1 강희정, "일본미술사 성립기의 인도미술 인식 - 메이지(明治)기에서 다이쇼(大正)기를 중심으로 -" 인문학연구원 (60) : 173-205, 2008

2 다카기 히로시, "일본 미술사와 조선미술사의 성립, in 국사의 신화를 넘어서" 휴머니스트 2004

3 스테판 다나카, "일본 동양학의 구조" 문학과 지성사 2004

4 김용철, "오카쿠라 덴신(岡倉天心)과 일본 미술사의 성립" 7 : 2004

5 다카기 히로시, "근대 일본의 문화재 보호와 고대미술" 한국미술연구소 (11) : 2000

6 스테판 다나카, "근대 일본과 ‘동양’의 창안, in 동아시아, 문제와 시각" 문학과 지성사 1995

7 高木博志, "近代天皇制の文化史的硏究" 校倉書房 1995

8 임남수, "法隆寺의 歷史" 16 : 2001

9 大橋一章, "法隆寺美術論爭の視點" グラフ社 1998

10 靑井哲人, "法隆寺と世界建築史-伊東忠太「法隆寺建築論」の二重性とその歸趨, in 日本における美術史學の成立と展開" 東京國立文化財硏究所 2001

11 藤原貞郞, "東洋美術史學의 형성과정에서 역사관·문화적 가치관: 분석방법을 둘러싼 일본과 歐美의 競合에 대해서" 한국미술연구소 (20) : 353-379, 2005

12 廣瀨繁明, "明治期における <文化財> 保護政策と關野貞- 美術史から 建築史, そして考古學への展開, in 日本における美術史學の成立と展開" 東京國立文化財硏究所 2002

13 佐藤道信, "明治國家と近代美術 - 美の政治學" 吉川弘文館 1999

14 "日本における美術史學の成立と展開" 東京國立文化財硏究所 2001

15 사토 도신, "岡倉天心의 人間像과 美術館" 한국미술연구소 (8) : 1999

16 기노시타 나가히로, "岡倉天心과 美術史" 한국미술연구소 (9) : 1999

17 "された" 東京都寫眞美術館 2000

18 "『眞美大觀』1-11, 13, 16, 20卷, 京都: 審美書院, 1899-1908"

19 기타자와 노리아키, "“미술” 개념의 형성과 리얼리즘의 轉位: 메이지·다이쇼기의 “미술” 인식에 대하여" 한국미술연구소 (2) : 1995

20 사토 도신, "‘近代 日本美術史’의 形成과 그 硏究動向" 한국미술연구소 (10) : 2000

21 馬渕明子, "1900年パリ萬國博覽會とHistorie de l’Art du Japonをめぐて, in 語る現在, 語られる過去-日本美術史學100年" 平凡社 1999