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1910 ~ 1930년대 재한화가들의 조선미술전람회에 대한 논의
김승익(Kim Seung-ik) 한국근현대미술사학회 2014 한국근현대미술사학 Vol.27 No.-
This study attempts to examine the art critics of Japanese painters in colonial period of Korea. In the early 1910s to the 1930s, many Japanese artists wrote critics about art world in Korea and Joseon Art Exhibition(朝鮮美術展覽會) on the magazines published in Japanese. Most of these magazines were important documents indicating the self-identities and artistic consciousness of Japanese artists as a local painter. Focusing on, especially, the issue of Joseon Art Exhibition, the most important exhibition of that time, the criticism movement will be contemplated. The previous studies on Japanese artists in Korea mostly examined settlement in early modern Korea, development of group of japanese painters, the birth of Joseon Art Exhibition and other relationship with Korean painters. These studies are based on various written sources from the government magazine such as Choseon(朝鮮) and Kyongsong Daily Newspaper(京城日報) published by the Government-General of Joseon. However, these sources are difficult to strengthen comprehensive understanding of the japanese artists because the primary sources are limited to governmental journals and newspapers. While Choseon and Manchuria(朝鮮及滿洲), The Chosen Review(朝鮮公論) and other privately published Japanese magazines are critical materials that showed trend and awareness among Japanese artists in Korea at that time. In 1910s, the discussion on art presented in the magazine was written by various writers such as Japanese art collector, bureaucrats and so on. During this period, debate on traditional Joseon art itself were active rather than current issue of art in Korea. Until 1910s, antiquaries and also collector who led the debate poured scorn on aesthetic of Joseon art and asserted declinism of Joseon art mutually. Those critical understanding on traditional art influenced Japanese artists in Korea. Critics of Joseon Art Exhibition which focused on Japanese artists in Korea actively developed after 1920s. Criticism movement of Japanese artists in Korea which was prosperous with hosting exhibition can be read as trying to construct their identities between Japan and colonial Korea. Ichigi Murakami(村上一儀) was a leader initiating criticism of 1920s. Afterward, critics of Japanese artists in Korea concentrated on Joseon Art Exhibition until 1930s. Art critics of Japanese artists in colonial Korea showed process of continuous self-construction between artist and viewer, public and amateur, young and senior painter, local and central art world.
김승익(Kim Seung-ik) 한국근현대미술사학회 2009 한국근현대미술사학 Vol.20 No.-
This article intends to examine the representation of southern region, so called ‘Nambang (南方)’ in modern Korean art. Nambang is defined as southern regions literally, also it refers to Southeast Asia and tropical islands under Japanese colonial occupation. Originally, this region was named ‘Nanyo (南洋)’ in nineteenth century, but it was changed to Nambang after Japanese empire manifested ‘South Co- Prosperity Sphere (南方共榮圈)’ following the Pacific War. In Meiji period, Japanese occidentalists perceived Nambang as a climatic or ethnic origin of Japanese empire based on islands characteristics and the theory of migrants from south. Japanese painters who represented southern regions in art exhibitions supervised by the government had similar cognition on Nambang. After mandating Nanyokunto (南洋群島), various thoughts and knowledge about Nambang spread out and Japanese painters began to visit there. Most of their works were tropical landscapes or portraits of natives, which contained the view of artists considering them not only as geographical others but also as origin of civilization and mankind. Korean geographical characteristic which was a peninsular perceived Nambang as a geographical others or overseas territory (外地) unlike Japanese empire, the geographical characteristic of which was islands. Information about Nambang which was defined by Japanese empire began to be introduced around 1910s. At that time, it represented primitive and uncivil regions in this period based on ethnography. This representation can be found on illustrations and photography in newspapers, textbooks and magazines at that time. After 1920s, economical advantages of Nambang began to be known, so that the perceptions of it was changed into a rich tropical nature and the land of resources with images of exotic landscape. Knowledge and information about Nambang were so widespread that it became discourses during the Pacific-War. Most of them propagandised and extolled military occupation of ‘South Co-Prosperity Sphere’. Nambang was represented as the land to be explored and colonized. Images of native women symbolized the colonized virginity and those of men towards southern regions emblematized the colonial power. It became imaginative space that enabled Korea to dream of participating the Japanese emperialistic expansion. However, it was represented not only as a outer colony but also as an inland territory of Korea. Japanese painters like Wada Sanzo (和田三 造) assimilated Korean Territories into Nambang with mythical and historical factors. Wada Sanzo painted common legend between Korea and Japan, namely Hagoromo (羽衣), on the wall of Government-General of Joseon. Because its story was originated from southern regions, exotic clothes and appearance found in his work showed his idea that Korea was assimilated with it. Besides Japanse painters, Korean modern painters also perceived their own land as Nambang. Because they had no experience in it, they imagined and represented it in local territories, especially southern Korea, so called Namsun (南鮮). Lee Insung (李仁星) and Kim Whanki (金煥基) who were born in southern Korea painted their hometown like Nambang. Thus, representation of Nambang was a visualization of geological others but also an assimilation into it. This article examined the process of how these representations of Nambang were constructed, expanded and changed. So, the historical context of regional images in Korean modern art can be found by this study.