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일본 근대 메이지기 인쇄 미술에 나타난 현모양처 이미지
이성례(Lee Sungrye) 한국근현대미술사학회 2010 한국근현대미술사학 Vol.21 No.-
The Meiji Period of Japan can be said to have been a transition period with regard to the formation of the image of modern women. While a modern nation state was being formed, the importance of the education of the next generation was stressed, and the role expected of women may be summarized as that of a “wise mother.” In the mid-Meiji Period and thereafter, when the concept of a modern family first appeared and took root, women were expected to play the role of a “good wife” who strives to maintain the happiness of the family and sacrifices herself for the family. The image of a wise mother and a good wife was formed in step with the rise of nationalism. Such expectations regarding women’s role in society were confined to that of a woman as a mother and housewife rather than any more general role. Images of a wise mother and good wife can be found in diverse forms in the visual culture of the Meiji Period, particularly in connection with the role of printed art, which was recognized as a category of fine art in modern times, of spreading modernism as art that made a foray into people’s everyday lives. It should also be borne in mind that Ukiyo-e (浮世繪), a genre of Japanese woodblock prints that spread among ordinary people during the Edo Period, produced a large quantity of images of women at home, particularly mothers. The media used to express the image of a wise mother and good wife differed from period to period. During the early Meiji Period, Nishiki-e (錦繪) was mainly used. Nishiki-e inherited the tradition of the visual media of the Edo Period and displayed modernity in the universalization and popularization of art. During the late-Meiji Period, lithography was hailed as a new media for visual reproduction.