일제시대 官展의 식민주의 연구 = A Study of Colonialism of the Govemmental Art Exhibitions during the Japanese Occupation Period : Centering around d1e Consciousness of Local Color Which Appeared in me Paintings of Taiwan Art Exhibition and Joseon Art Exhibition

다국어 초록 (Multilingual Abstract)

After Japan occupied Taiwan (1895), it annexed Korea (1910) and really came to build colonies. It put up 'assimilation' policy for the civilizing of the East Asia aimed at the rule of colonies on the surface.
However. in reality. it is understood by everybody that rbe above policy was me one aimed at discriminating colonial region as inferior people. And since here lies intentional 'making self internal (domination)', or 'making internal stranger (discrimination)' consciousness together I think it played a great role for highlighting me form of a colony.
The local color or the color of a native town came to stress ihe thematic factor through the request of Japanese judging committee members, the request of Japanese judging committee members as joseon An Exhibition began to be held. This request as Joseon Art Exhibition began to be held.
This request came to be futther consolidated by the hold.ing of Taiwan Art Exhibitions We cannot doubt that me above is a pan 0 me policy of the colonization of the culture by Japanese government And it reveals Japanese colonialism by means of me govemment-sponsored art exhibition and shows that it discriminates the interior land from the exterior land nakedly.
We can see that by merely looking at the works of the painters of the corresponding colonies which displayed tbe consciousness of native land by using female as a theme me orientalism getting out of political thing and stressing non-civilization was applied as it is. Consequently the consciousness of a native land which appeared to the painters of Taiwan An Exhibition grew up in the local color that is a product of Japanese colonialism. And this consciousness entered another way seeking me clisposition of nationalism brings about the making of main land (in case of Taiwan) and the color of a native land (in case of Korea).
The common trait which appeared to the an community of Taiwan and Korea is the faa mat the Japanese influence aiticizing tbe westem modernization and aying out for returning to oriental spirit came to be further stressed through local color.
This makes a dual stranger what is non-western and pie-modem aspect so mat Taiwan color or joseon color showed orienta] image as non-western and pre-modem view. In particular this oriental nature shows its characteristic as primitive theme which accepted tbe fauvism of the westem modernism.
The local color in government-sponsored art exhibition also makes the interpretation of the conflicting position diverging into the colonialism of dom.ination logic and me natialism of the dominated. And I think that ule deep-seated interpretation of the problem will be accompanied. depending how the local color demanded from Ule colonial ruler is accepted and developed.
Consequently through this study I compared the local color made by the sponsors of colonialism with the paintings shown at taizhand and at sonjeon, and examined the position of accepting them.
However, as the method of the study has a limit in which all-out and multilateral groping, I am going to wait for more advanced study.

목차 (Table of Contents)

• 들어가는 말
• 鮮展과 臺展의 심사위원
• 관전에서 요구한 지방색채
• 식민주의 향토색
• 식민지 화가에 있어서 향토색
• 맺음말
• 참고문헌
• ABSTRACT