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미술사논단44 호
제목
‘일본화’의 현대화 고찰
원어 제목
Modernization in Japanese Painting
주제 분류
자료 유형
학술논문
저자
치바 시게오 千葉成夫   지음
발행일자
2017.06.30
기본언어/원문언어
한국어/한국어
수록면/분량
79-100쪽 / 총 21쪽
국문초록
외국어초록
Modernization in Japanese Painting Since the foundation of the country in 1867, the mainstream of Japanese art world was the western art. In ‘Nihonga’ world, the existing authentic parties including ‘Kano School’ declined in line with the fall of the support group. But, Nihonga became revitalized gradually thanks to the policy change of the government that witnessed a good response of traditional craftworks submitted to Vienna International Exposition in 1873 and the activities of Ernest Fenollosa who visited Japan in 1878 and his pupil Okakura Tenshin. The background of such revival is the reflection of the Meiji culture that sought the westernization. Representative artists in this period include Yokoyama Daikan, Shimomura Kanzan and Hishida Shunso. The follow to the western art continued since the defeat at the war in 1945, and Nihonga that failed to create any artistic renovation formed an ‘ancien régime’. Afterwards, there appeared artists who witnessed the western art toward the fall of the ‘modern art’ and genuinely explored a unique art in modern Japan instead of Japanese application of western art, but Nihonga was not changed. Challenging Nihonga Exhibition: artists in 1950s~70s held in Nagoya City art Museum in 2014 showed the situation of Nihonga from the last period to the present. While it was titled with ‘Modernization of Nihonga’, modernization was nothing but a new expression method of ‘motif’ of modernization. Eventually, despite its planning intention to go beyond ‘destruction theory of Nihonga’, I personally think that Nihonga died out already. Therefore, Nihonga must start from the same perspective with the western art, i.e., the painting in general. With such perspective in mind, when the overall ‘painting’ in Japan from the Pacific War was observed, there are some artists who are able to discuss the ‘modernization of Japanese art’ in an essential meaning. Since Hishida Shunso, the common factor and also the greatest uniqueness of modern Japanese art is that it does not describe ‘form and story’ but embodies ‘space’ itself. ‘Space’ is present and breathes in canvas, in painting and in reality. Painting expression itself is ‘Japanese’ and unique in terms of a global perspective.
참고 문헌
東京芸術大学百年史刊行委員會 A Century History of Tokyo University of the Arts Publication Committee ed., 『東京芸術大学百年史 A Century History of Tokyo University of the Arts』東京美術学校篇 第一卷, ぎょうせい Tokyo: Kyosei, 1987. 三重県立美術館 編 Mie Prefectural Art Museum ed., 『20世紀日本美術再見: 1940年代 : 戦後70年記念 Review of 20th Century Japanese Art』, 三重県立美術館 Tsu Shi: Mie Prefectural Art Museum, 2015. 名古屋市博物館 編 Nagoya City art Museum ed., 『琳派 美の継承: 宗達·光琳·抱一·其一Succession of Art of Limpa』, 名古屋市美術館 Nagoya: Nagoya City art Museum, 1994. 国立国際美術館 National Museum of Art, Osaka ed., 『近代の水墨画 中国と日本 Modern Ink-and-Wash Painting: China and Japan』, 国立国際美術館 Osaka: National Museum of Art, 1980. 千葉成夫 Chiba, Shigeo, 『ミ二マルアートMinimal Art』, リブロボートTokyo: Librobord, 1987. 千葉成夫 Chiba, Shigeo, 『現代美術逸脫史 Deviant History of Contemporary Art』, 晶文社 Tokyo: Shobunsha, 1986. 千葉成夫 Chiba, Shigeo, 『美術の現在地点 Current Situations of Art』, 五柳書院 Tokyo: Goryu-books, 1990. 遠藤水城 Endo, Muzuki, 『アメリカまで To America』, とんつーレコードTokyo: tontuurecord, 2009. 木下長宏 Kinoshita, Nagahiro, 『岡倉天心 Okakura Tenshin』,ミ ネルヴァ書房 Tokyo: Minervashobo, 2005. 尾形光琳 Ogata, Korin, 『新潮日本美術文庫 8: 尾形光琳 Shinchobizutsubunko 8: Ogata Korin』 新潮社 Tokyo: Shinchosha, 1996. 岡倉登志·岡本佳子·宮瀧交二 Okakura, Takashi et al., 『岡倉天心 思想と行動 Thought and Deed of Okakura Tenshin』, 吉川弘文館 Tokyo: Yoshikawakobunkan, 2013. 清水多吉 Shimizu, Takichi, 『岡倉天心 美と裏切り Okakura Tenshin: Bito Uragiri』, 中央公論新社 Tokyo: Chuokoronshinsha, 2013.
키워드
日本畵 Nihonga(traditional style panting in modern and contemporary Japan), 일본화의 현대화 modernization of Nihonga, 日本畵 滅亡論 the theory of the fall of Nihonga, 일본미술사 Japanese art history, 菱田春草 Hishida Shunso