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- 저자 : 시무라 쇼코(Shimura Shoko) (검색결과 1 건)
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시무라 쇼코(Shimura Shoko),정창미(번역자) 한국근현대미술사학회 2015 한국근현대미술사학 Vol.29 No.-
Japan put an end to their seclusion policy by concluding the Convention of Peace and Amity between the United States of America and the Empire of Japan in 1854. Accordingly, at the first year of Meiji era (1868), the five ports in Japan had been opened to the foreign countries; which were Yokohama, Hakodate, Kobe, Nagasaki and Niigata. This paper is focusing on “Yokohama Shashin”, the photographs that had brought back to the United States from Yokohama in the late 19th century. “Yokohama Shashin” refers to the commercial photographs shot as souvenirs for the tourist or the foreign residents of the Yokohama settlement in Japan. Its motif was “Old Japan”, the premodern images as well as the foreigners’ expected “authentic” Japanese sceneries. They bought “Yokohama Shashin” to confirm and memorize these images. It is said that Felice Beato and Shimooka Renjo have inaugurated this “Yokohama Shashin”. Charles Appleton Longfellow(1844-1893), son of the famous American poet, stayed in Japan from 1871 to 1873 and brought home over 350 photographs including his own and his mistresses’ portraits most probably shot by Beato. The poses of mistresses were mimicking Japanese women seen in “Yokohama Shashin”, and his portrait in kimono is identical to that of “Yokohama-e”, the portrait-paintings of foreigners visiting Yokohama depicted by Japanese painters in those days. The faces drawn in “Yokohama-e” had applied foreigners’ images from their own photographs; and at all times the figures were in kimono. “Yokohama-e” was a souvenir for foreigners in the same way as “Yokohama Shashin”. The Photographs Charles brought home from Japan present his idealized viewpoint toward Japanese women, and his selfconsciously created image of exotic “Good Old Japan”. John La Farge (1853-1910), an American painter, visited Japan with his historian friend, Henry Adams, in 1886. His essays with his own illustrations were appeared as “An Artist’s Letters from Japan” in Century Magazine from 1890 to 1893. Some of his illustrations were directly based on “Yokohama shashin”. La Farge worked on watercolor illustrations after returning to the United States with referring to the commercial photographs he brought back, as if he painted them from his own sketches drawn in Japan. Therefore, it is possible to say that his perspectives on Japan were depended heavily on from the images of “Old Japan”, which he believed to be “authentic”. This paper aims to reveal the Japanese images in the United States around the late 19th century by analyzing these examples.
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