지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
이용수
초록· 키워드
오류제보하기
This article intends to examine the representation of southern region, so called ‘Nambang (南方)’ in modern Korean art. Nambang is defined as southern regions literally, also it refers to Southeast Asia and tropical islands under Japanese colonial occupation. Originally, this region was named ‘Nanyo (南洋)’ in nineteenth century, but it was changed to Nambang after Japanese empire manifested ‘South Co- Prosperity Sphere (南方共榮圈)’ following the Pacific War. In Meiji period, Japanese occidentalists perceived Nambang as a climatic or ethnic origin of Japanese empire based on islands characteristics and the theory of migrants from south.
Japanese painters who represented southern regions in art exhibitions supervised by the government had similar cognition on Nambang. After mandating Nanyokunto (南洋群島), various thoughts and knowledge about Nambang spread out and Japanese painters began to visit there. Most of their works were tropical landscapes or portraits of natives, which contained the view of artists considering them not only as geographical others but also as origin of civilization and mankind.
Korean geographical characteristic which was a peninsular perceived Nambang as a geographical others or overseas territory (外地) unlike Japanese empire, the geographical characteristic of which was islands. Information about Nambang which was defined by Japanese empire began to be introduced around 1910s. At that time, it represented primitive and uncivil regions in this period based on ethnography. This representation can be found on illustrations and photography in newspapers, textbooks and magazines at that time. After 1920s, economical advantages of Nambang began to be known, so that the perceptions of it was changed into a rich tropical nature and the land of resources with images of exotic landscape. Knowledge and information about Nambang were so widespread that it became discourses during the Pacific-War. Most of them propagandised and extolled military occupation of ‘South Co-Prosperity Sphere’. Nambang was represented as the land to be explored and colonized. Images of native women symbolized the colonized virginity and those of men towards southern regions emblematized the colonial power. It became imaginative space that enabled Korea to dream of participating the Japanese emperialistic expansion.
However, it was represented not only as a outer colony but also as an inland territory of Korea. Japanese painters like Wada Sanzo (和田三 造) assimilated Korean Territories into Nambang with mythical and historical factors. Wada Sanzo painted common legend between Korea and Japan, namely Hagoromo (羽衣), on the wall of Government-General of Joseon. Because its story was originated from southern regions, exotic clothes and appearance found in his work showed his idea that Korea was assimilated with it.
Besides Japanse painters, Korean modern painters also perceived their own land as Nambang. Because they had no experience in it, they imagined and represented it in local territories, especially southern Korea, so called Namsun (南鮮). Lee Insung (李仁星) and Kim Whanki (金煥基) who were born in southern Korea painted their hometown like Nambang.
Thus, representation of Nambang was a visualization of geological others but also an assimilation into it. This article examined the process of how these representations of Nambang were constructed, expanded and changed. So, the historical context of regional images in Korean modern art can be found by this study.
Japanese painters who represented southern regions in art exhibitions supervised by the government had similar cognition on Nambang. After mandating Nanyokunto (南洋群島), various thoughts and knowledge about Nambang spread out and Japanese painters began to visit there. Most of their works were tropical landscapes or portraits of natives, which contained the view of artists considering them not only as geographical others but also as origin of civilization and mankind.
Korean geographical characteristic which was a peninsular perceived Nambang as a geographical others or overseas territory (外地) unlike Japanese empire, the geographical characteristic of which was islands. Information about Nambang which was defined by Japanese empire began to be introduced around 1910s. At that time, it represented primitive and uncivil regions in this period based on ethnography. This representation can be found on illustrations and photography in newspapers, textbooks and magazines at that time. After 1920s, economical advantages of Nambang began to be known, so that the perceptions of it was changed into a rich tropical nature and the land of resources with images of exotic landscape. Knowledge and information about Nambang were so widespread that it became discourses during the Pacific-War. Most of them propagandised and extolled military occupation of ‘South Co-Prosperity Sphere’. Nambang was represented as the land to be explored and colonized. Images of native women symbolized the colonized virginity and those of men towards southern regions emblematized the colonial power. It became imaginative space that enabled Korea to dream of participating the Japanese emperialistic expansion.
However, it was represented not only as a outer colony but also as an inland territory of Korea. Japanese painters like Wada Sanzo (和田三 造) assimilated Korean Territories into Nambang with mythical and historical factors. Wada Sanzo painted common legend between Korea and Japan, namely Hagoromo (羽衣), on the wall of Government-General of Joseon. Because its story was originated from southern regions, exotic clothes and appearance found in his work showed his idea that Korea was assimilated with it.
Besides Japanse painters, Korean modern painters also perceived their own land as Nambang. Because they had no experience in it, they imagined and represented it in local territories, especially southern Korea, so called Namsun (南鮮). Lee Insung (李仁星) and Kim Whanki (金煥基) who were born in southern Korea painted their hometown like Nambang.
Thus, representation of Nambang was a visualization of geological others but also an assimilation into it. This article examined the process of how these representations of Nambang were constructed, expanded and changed. So, the historical context of regional images in Korean modern art can be found by this study.
목차
Ⅰ. 머리말
Ⅱ. 제국주의 일본과 남방의 발견
Ⅲ. 식민지 조선에서의 남방 이미지
Ⅳ. 조선의 향토에 재현된 남방
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (28)
참고문헌 신청
1. [학술지(정기간행물)] - 구인모 / 2006 / 단카(短歌)로 그린 조선의 風俗誌: 市山盛雄 編, 『朝鮮風土歌』(1935)에 대하여 / 사이 1
2. [단행본] - 권명아 / 2005 / 역사적 파시즘: 제국의 판타지와 젠더 정치 / 책세상
3. [학술지(정기간행물)] - 김영나 / 1999 / 이인성의 향토색: 민족주의와 식민주의 / 미술사논단 9
4. [학술지(정기간행물)] - 김정선 / 2008 / 조선총독부 벽화에 관한 고찰:‘내선일체’의 표상에서 ‘근대 벽화’로 / 美術史論壇 (26) : 141 ~ 170
5. [학위논문] - 김주영 / 2000 / 일제시대의 在朝鮮 일본인 화가 연구: 朝鮮美術展覽會 입선작가를 중심으로 / 석사 / 서울대학교 대학원
2. [단행본] - 권명아 / 2005 / 역사적 파시즘: 제국의 판타지와 젠더 정치 / 책세상
3. [학술지(정기간행물)] - 김영나 / 1999 / 이인성의 향토색: 민족주의와 식민주의 / 미술사논단 9
4. [학술지(정기간행물)] - 김정선 / 2008 / 조선총독부 벽화에 관한 고찰:‘내선일체’의 표상에서 ‘근대 벽화’로 / 美術史論壇 (26) : 141 ~ 170
5. [학위논문] - 김주영 / 2000 / 일제시대의 在朝鮮 일본인 화가 연구: 朝鮮美術展覽會 입선작가를 중심으로 / 석사 / 서울대학교 대학원
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
중국 북방 石窟 佛像에 나타난 南方의 요소
미술사논단
1997 .01
-
스토리텔링의 어촌관광 적용방안에 관한 연구
해양정책연구
2014 .06
-
스포츠 공공 빅데이터(Big Data)의 미래 활용가치를 위한 발전방안
한국사회체육학회지
2013 .12
-
관광스토리텔링 전략이 관광객 만족과 행동의도에 미치는 영향－중국관광객을 대상으로－
한국항공경영학회지
2017 .01
-
오피니언 분류의 감성사전 활용효과에 대한 연구
지능정보연구
2014 .03
-
Splunk 플랫폼을 활용한 유해 정보 탐지를 위한 빅데이터 분석 시스템 설계
한국정보전자통신기술학회 논문지
2018 .02
-
통계적 접근법을 기초로 하는 지능형 교육 지원 시스템
지능정보연구
2012 .03
-
PTC와 평판형 태양열집열기의 성능평가 비교 연구
한국태양에너지학회 논문집
2010 .12
-
서비스 질에 대한 인식이 사회복지관이미지에 미치는 영향 : 서비스만족의 매개효과를 중심으로
한국지역사회복지학
2010 .06
-
사회적 책임 관여도에 따른 호텔 공익연계마케팅과 호텔 이미지 및 고객행동의도간의 관계 연구
관광레저연구
2011 .11
-
호텔체류경험이 고객감정, 만족 및 행동의도에 미치는 영향
대한경영학회지
2013 .09
-
패밀리 레스토랑의 서비스 품질이 경험적 가치 및 고객만족에 미치는 영향
관광레저연구
2015 .05
-
특집:원간섭기 유교지식인의 사상적 지형/원간섭기 성리학자들의 화이관과 국가관
역사와현실
2003 .09
-
Location Tracking based on MS-Based/Assisted Location Trigger Model with Context-Awareness
한국컴퓨터정보학회논문지
2016 .06
-
웹 자원을 이용한 지리정보 온톨로지 확장
정보과학회논문지 : 컴퓨팅의 실제 및 레터
2009 .10
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2014-600-000668627