신제국주의 시대 영국박물관의 일본 컬렉션의 형성 = The British Museum’s Japanese collections in the age of expanding new imperialisms, 1859-1914

다국어 초록 (Multilingual Abstract)

The original founding collections of the British Museum (BM), bequeathed by Sir Hans Sloane in 1753, included a small number of Japanese objects collected in Japan between 1690 and 1692 by Engelbert Kaempfer (1651-1716). Much more significant were Kaempfer’ manuscripts and drawings (now British Library) that would form the basis for the translation and publication of his History of Japan (London, 1727), funded by Sloane. This would serve as the guide for a European intelligentsia interested in Japan until the 1850s. More comprehensive collecting of Japanese art and artefacts by the BM began in earnest following the opening of the new treaty port of Yokohama in 1859. This article focuses mainly on the period from 1859 until the beginning of WWI in 1914. This era marked the end of what is
sometimes referred to as 'Britain's imperial century (1815-1914)' and by this date Japan too had expanded its overseas empire to encompass Taiwan, Korea and parts of NE China. To what extent was the formation of the ‘ritish’Museum’ holdings of Japanese works moulded by and reflective of this age of expanding new imperialisms? Within the larger framework of global realpolitik, BM collecting was the product -- to a perhaps unusual degree -- of the tastes, interests and capabilities of individual curators, served in turn by their links with collectors. In terms of generating popular understanding about both traditional and contemporary Japan, however, the BM’ collections and displays risked being overshadowed in a sensational way by huge international expositions such as the Japan-British Exhibition held in London in 1910, seen by more than 8 million visitors. The four important ‘ounding collections’of Japanese works acquired by the BM in the late 19th and early 20th centuries stem from the personalities and activities of four key individuals: Augustus Wollaston Franks (1826-1897) never visited Japan. He was ‘Keeper’(chief curator)of the BM from 1851-1897. Franks donated or bequeathed 3,022 Japanese objects between the 1860s and 1902. These were mainly ceramics/archaeological artefacts, netsuke and tsuba; also paintings and prints, metalwork and decorative arts, including religious icons. Franks was additionally responsible for attracting to the BM the collections of Anderson and Gowland below. William Anderson (1842-1900) worked in Japan from 1873-1880. He was professor of anatomy and surgery at the Naval Medical College in Tokyo. 3,299 items of Japanese pictorial art were sold by Anderson to the BM in 1881; 1,891+ volumes of Japanese illustrated books were then sold by him to the BM between 1882 and 1894. William Gowland (1842-1922) worked in Japan from 1872-1888. He was a chemist and metallurgist at the Imperial Japanese Mint (Zōheikyoku) in Osaka. About 480 Japanese and about 50 Korean archaeological artefacts from Gowland’ collection were purchased by Franks in 1889 and donated to the BM. Arthur Morrison (1863-1945) never visited Japan. He was a popular Victorian novelist. 1,851 ukiyo-e prints were sold by Morrison to the BM in 1906. 33 Chinese and 589 Japanese paintings from Morrison’ collection were donated by Sir William Gwynne-Evans in 1913. 66 Japanese paintings and 71 Japanese prints were bequeathed by Morrison in 1945. Although a proportion of the works acquired by each of these curators and collectors was contemporary, it is striking that so few illustrate the dynamic way in which Japan modernised and pursued colonialism after 1868. The BM’ collections from this period largely suggest a view of Japan (and of Japan in Asia) as the object of a colonizing gaze, rather than the subject of its own
imperial expansion. Exceptions are perhaps the ‘yrical’colour woodblock prints of the Russo-Japanese war of 1904-5 -- presumed to have been purchased as new by Arthur Morrison, but mostly only bequeathed to BM in 1946 after his death -- and the small group of contemporary Nihonga paintings he acquired from visiting artists to London such as Shimomura Kanzan (1873-1930). An alternative model of personal interaction and friendship is represented by the case of Japanese artist, Kawanabe Kyō3sai (1831-1889) and British architect Josiah Conder (1852-1920). As a result of the brilliant work of Edward Said and others, we have developed the mind-set that Orientalism is always a dirty business of collaboration with imperialist ambition, and that Occidentalism is a bid to compete in this scramble for colonies by non-Western elites. What the friendship between Kyōai and Conder demonstrates, albeit on a micro-scale, is that it was sometimes possible for Japanese and Westerner genuinely to collaborate from positions of mutual curiosity and respect,within a non-colonialist mind-set.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 신제국주의와 영국박물관
• Ⅲ. 영국박물관 일본 소장품의 수집가와 큐레이터
• Ⅳ. 제국주의 맥락에서 본 영국박물관의 일본 소장품
• Ⅴ. 옥시덴탈리즘과 오리엔탈리즘: 두 사람의 이야기
• Ⅵ. 오늘날 영국박물관의 근대 일본에 대한 전시

참고문헌 (Reference)

1 "http://www.britishmuseum.org/about_us/the_museums_story/architecture/south_pediment.aspx"

2 "http://en.wikipedia.org/wiki/Port_Hamilton_incident"

3 Youngchan Oh, "William Gowland’s Korean Collection at the British Museum" 41 (41): 65-68, 2010

4 Victor Harris, "William Gowland: The Father of Japanese Archaeology" BMP 2003

5 Pippa Biltcliffe, "Walter Crane and the Imperial Federation Map Showing the Extent of the British Empire (1886)" 57 (57): 63-69, 2005

6 Richard Parkinson, "The Rosetta Stone - British Museum Objects in Focus series" British Museum Press 2005

7 William Anderson, "The Pictorial Arts of Japan" Sampson Low 1886

8 Angus Lockyer, "The New Japanese Galleries at the British Museum-New Opportunities for Thinking about Japan"

9 Hoshino Yukinobu, "Professor Munakata’s British Museum Adventure" British Museum Press 2011

10 Edward W Said, "Orientalism" Knopf Doubleday 1978

11 Hayashi Sae, "Nihon bijutsu taikan III: Daiei Hakubutsukan Ⅲ" Kodansha 274-278, 1993

12 Hirayama Ikuo, "Nihon bijutsu taikan II: Daiei Hakubutsukan II" K Tokyo 14-16, 1992

13 Nicole Coolidge Rousmaniere, "New Displays in the Japanese Galleries at the British Museum and the special exhibition Crafting Beauty in Modern Japan"

14 John Hatcher, "Laurence Binyon: Poet, Scholar of East and West" Clarendon Press 1995

15 Timothy Clark, "Kaiga no bōkensha Kyōsai--Kindai e kakeru hashi" 18-23, 2008

16 Clark, "Japanese Painting in the British Museum"

17 Tim Clark, "Japanese Painting in the British Museum" (13) : 15-18, 1993

18 Kurushima Hiroshi, "Ibunka o tenji suru koto, jibunka o tenji suru koto-Rekihaku to Daiei Hakubutsukan no taigai kankei no tenji puran o hikaku shite" 140 : 213-239, 2008

19 Kenji Yoshida, "Ibunka e no manazashi [Images of Other Cultures]" National Museum of Ethnology 114-117, 1997

20 Pankaj Mishra, "From the Ruins of Empire: The Revolt against the West and the Remaking of Asia" Allen Lane 2012

21 Timothy Clark, "Demon of Painting: The Art of Kawanabe Kyōsai" BMP 1993

22 Kurushima Hiroshi, "Daiei Hakubutsukan no atarashii Nihon tenji" 153 : 28-29, 2009

23 Timothy Clark, "Daiei Hakubutsukan no atarashii Nihon tenji" 8 : 44-53, 2009

24 Meri Arichi, "Commerce and Culture at the 1910 Japan- British Exhibition: Centenary Perspectives" Global Oriental 135-158, 2013

25 Ayako Hotta-Lister, "Commerce and Culture at the 1910 Japan- British Exhibition: Centenary Perspectives" Global Oriental 69-97, 2013

26 Michiko Hayashi, "Commerce and Culture at the 1910 Japan- British Exhibition: Centenary Perspectives" Global Oriental 159-176, 2013

27 Kimio Miyatake, "Commerce and Culture at the 1910 Japan- British Exhibition: Centenary Perspectives" Global Oriental 103-122, 2013

28 Frances Carey, "Collecting the 20th Century" BMP 1991

29 Simon Kaner, "Britain and Japan: Biographical Portraits, Volume VI (" 271-280, 2007

30 Nicole Coolidge Rousmaniere, "Britain and Japan: Biographical Portraits, Volume VI" Japan Society and Global Oriental 262-270, 2007

31 John Rawlins, "Britain and Japan: Biographical Portraits, Volume V" Japan Society and Global Oriental 3-12, 2005

32 Stan Newens, "Arthur Morrison: The Novelist of Realism in East London and Essex" Alderton Press 2003

33 Noboru Koyama, "Arthur Morrison and Japan" 75-87, 1994

34 Nicole Coolidge Rousmaniere, "A.W. Franks, N. Ninagawa and the British Museum: Collecting Japanese Ceramics in Victorian Britain" 33 (33): 26-34, 2002

35 Marjorie Caygill, "A. W. Franks: Nineteenth-century Collecting and the British Museum" British Museum Press 1997

36 William Anderson, "A Descriptive and Historical Catalogue of a Collection of Japanese and Chinese Paintings in the British Museum" British Museum 1886

37 Laurence Binyon, "A Catalogue of Japanese and Chinese Woodcuts Preserved in the British Museum"