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Since London’s 1851 Crystal Palace exhibition, universal exposition came to exist as a new showcase to exhibit industrial products and scientific inventions as well as fine arts in one place-thus displaying technological advance and the progress of mankind. The World Columbian Exposition held in Chicago 1893 was the height of such nineteenth century expositions.
World Columbian Exposition, Chicago of 1893 holds a special meaning to Korea because it was the first universal exposition Korea has participated abroad. Unlike Japan, who had been participating in universal expositions since 1862, stimulating new popularity for Japanese art in the Western world, it was not until 1880s when Korea began open-door policy toward the Western world. Following signing a treaty with the United States in 1882, King Kojong decided to participate in the 1893 Chicago Exposition, and later to 1900 Paris Universal Exposition. This suggests that King Kojong and the court recognized the universal expositions as an important exhibitionary space to present Korea to the international society, and also to acquire knowledge on advanced Western technology and products. However, despite these effort for modernization, Korea was unable to escape the aggression of neighboring Japan and became protectorate of Japan in 1905. Korea was again displayed in 1910 at Japanese-British Exhibition as a colony along with Taiwan.
In Chicago Exposition, Korea built a small traditional Korean-style house in the Manufactures and Liberal Arts Building and exhibited handicrafts, men and women’s cloths, weapons, musical instruments, and etc. The Korean exhibition was too small in scale to receive much recognition, and the newspapers and the magazines of the time described the Korean exhibition as that of an isolated and strange country. Nevertheless, the Chicago exhibition serves as an important research area in Korea’s modern art history. It not only happened to be the first place where Korea officially encountered the cultures of various countries in the world, but it worked as an impetus in establishing several cultural institutions, including Hansong Art Studio to promote the productions of crafts.
The study also brought to light some of the documents and visual images that had
not been known by conducting researches both in Korea, Japan and in the United States, By examining these materials and comparing the exhibitions of three East Asian countries of Korea, Japan, and china, the article attempted to analyze the historic significance of the Korea’s participation in Chicago and Paris Exposition, and how the image of East Asia was constructed as the cultural other through display of exotic and mostly handicraft products in face of technologically advanced Western Civilization.
World Columbian Exposition, Chicago of 1893 holds a special meaning to Korea because it was the first universal exposition Korea has participated abroad. Unlike Japan, who had been participating in universal expositions since 1862, stimulating new popularity for Japanese art in the Western world, it was not until 1880s when Korea began open-door policy toward the Western world. Following signing a treaty with the United States in 1882, King Kojong decided to participate in the 1893 Chicago Exposition, and later to 1900 Paris Universal Exposition. This suggests that King Kojong and the court recognized the universal expositions as an important exhibitionary space to present Korea to the international society, and also to acquire knowledge on advanced Western technology and products. However, despite these effort for modernization, Korea was unable to escape the aggression of neighboring Japan and became protectorate of Japan in 1905. Korea was again displayed in 1910 at Japanese-British Exhibition as a colony along with Taiwan.
In Chicago Exposition, Korea built a small traditional Korean-style house in the Manufactures and Liberal Arts Building and exhibited handicrafts, men and women’s cloths, weapons, musical instruments, and etc. The Korean exhibition was too small in scale to receive much recognition, and the newspapers and the magazines of the time described the Korean exhibition as that of an isolated and strange country. Nevertheless, the Chicago exhibition serves as an important research area in Korea’s modern art history. It not only happened to be the first place where Korea officially encountered the cultures of various countries in the world, but it worked as an impetus in establishing several cultural institutions, including Hansong Art Studio to promote the productions of crafts.
The study also brought to light some of the documents and visual images that had
not been known by conducting researches both in Korea, Japan and in the United States, By examining these materials and comparing the exhibitions of three East Asian countries of Korea, Japan, and china, the article attempted to analyze the historic significance of the Korea’s participation in Chicago and Paris Exposition, and how the image of East Asia was constructed as the cultural other through display of exotic and mostly handicraft products in face of technologically advanced Western Civilization.
목차
1. 서론
2. 1893년 시카고 박람회
3. 시카고 박람회에서의 동아시아 전시
4. 시카고 박람회의 조선관과 파리 박람회의 대한제국관 전시
5. 결론
참고자료
Abstract
「‘박람회’라는 전시공간: 1893년 시카고 만국박람회의 조선관 전시」에 대한 질의(오진경)
오진경 선생님의 질의에 대한 답변(김영나)
참고문헌 (0)
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