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초록· 키워드
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Around a variety of open ports in Asia, a number of genre paintings were produced during the eighteenth and nineteenth centuries. And they were mainly sold to the western-Europeans who had visited there at that time. These genre paintings called ‘export paintings’ were quite popular with foreign visitors. This study aims to explore what functions those export paintings performed in the western-European culture, what they captured, and what symbolic meaning they have, focusing on Korean & Chinese export paintings in the nineteenth century.
In China and Korea, many western-European visitors purchased ‘export paintings’ as a souvenir to commemorate their special journeys into the Asian world. And they returned to their home lands with those exotic paintings. In the west, most of export paintings were housed in an ethnology museum or used as an illustration in popular printed materials such as a newspaper, a journal or a travelogue. This suggests that those paintings had a crucial role in spreading general information about Asia to many ordinary western-Europeans, as simultaneously being employed as an ethnographical resource about the faraway eastern world. Yet, pre-modern images of Asia in those paintings, whose exhibition in a museum or choice in the popular media deliberately relied upon the western imperialism, fixated ambivalent images to Asia upon the western mind by strengthening a mysterious and exotic fantasy or a distorted negative image which did not correspond to any Asian reality.
Korean & Chinese export paintings have some common features in the subject, even though having a difference in the scale of their market. Some of them would find out their subject from traditional genre paintings, but the others were produced entirely to meet the demand or taste of the western-European foreigners. Chinese export paintings, which were also sold to the native Chinese people, usually represent a variety of occupation such as farmers, musicians, or craftsmen and capture scenes of plowing a field, weaving a silk tapestry, or making a pottery. To be sure, export paintings, especially depicting the processes of producing Chinese main exports such as a tea, a silk, or a porcelain, were very popular for being interlinked with mutual interests between Chinese painters and foreign clients. Similarly, Korean export paintings mainly depict a group of folks engaging in a variety of jobs, especially a craftsman who manufactures Gat, an inkstone, or a writing brush and a merchant who sells various items in the market. These Korean export paintings gained high popularity as an ethnographical resource that the western-European museum of ethnology, just having been established in the nineteenth century, desired to acquire and own. However, some of Korean export paintings contain strong ethnographical subjects such as various kinds of punishments or rituals, which are not seen in genre paintings domestically consumed in Korea. This means that those export paintings were newly produced by the demand of foreign clients.
In this way, Korean & Chinese export paintings have an important significance in that they were the product of the times when main ports in each country were necessarily opened for making a direct trade with the west in the nineteenth century. Also they show the production system of an export painting as a commodity in the nineteenth century.
In China and Korea, many western-European visitors purchased ‘export paintings’ as a souvenir to commemorate their special journeys into the Asian world. And they returned to their home lands with those exotic paintings. In the west, most of export paintings were housed in an ethnology museum or used as an illustration in popular printed materials such as a newspaper, a journal or a travelogue. This suggests that those paintings had a crucial role in spreading general information about Asia to many ordinary western-Europeans, as simultaneously being employed as an ethnographical resource about the faraway eastern world. Yet, pre-modern images of Asia in those paintings, whose exhibition in a museum or choice in the popular media deliberately relied upon the western imperialism, fixated ambivalent images to Asia upon the western mind by strengthening a mysterious and exotic fantasy or a distorted negative image which did not correspond to any Asian reality.
Korean & Chinese export paintings have some common features in the subject, even though having a difference in the scale of their market. Some of them would find out their subject from traditional genre paintings, but the others were produced entirely to meet the demand or taste of the western-European foreigners. Chinese export paintings, which were also sold to the native Chinese people, usually represent a variety of occupation such as farmers, musicians, or craftsmen and capture scenes of plowing a field, weaving a silk tapestry, or making a pottery. To be sure, export paintings, especially depicting the processes of producing Chinese main exports such as a tea, a silk, or a porcelain, were very popular for being interlinked with mutual interests between Chinese painters and foreign clients. Similarly, Korean export paintings mainly depict a group of folks engaging in a variety of jobs, especially a craftsman who manufactures Gat, an inkstone, or a writing brush and a merchant who sells various items in the market. These Korean export paintings gained high popularity as an ethnographical resource that the western-European museum of ethnology, just having been established in the nineteenth century, desired to acquire and own. However, some of Korean export paintings contain strong ethnographical subjects such as various kinds of punishments or rituals, which are not seen in genre paintings domestically consumed in Korea. This means that those export paintings were newly produced by the demand of foreign clients.
In this way, Korean & Chinese export paintings have an important significance in that they were the product of the times when main ports in each country were necessarily opened for making a direct trade with the west in the nineteenth century. Also they show the production system of an export painting as a commodity in the nineteenth century.
목차
I. 서론
Ⅱ. 동아시아 개항장 풍속화의 구미(歐美) 유입과 기능
Ⅲ. 한 · 중 개항장 풍속화의 소재와 특징
Ⅳ. 결론
참고문헌
Abstract
참고문헌 (31)
참고문헌 신청
[학술지(정기간행물)] - 강은주 / 2008 / 사우스 켄싱턴 박물관의 아시아 컬렉션(1851년~1899년) 연구 / 서양미술사학회 논문집 (29) : 9 ~ 32
[단행본] - 김광언 / 2003 / 箕山 한국의 옛 그림 / 민속원
[학술지(정기간행물)] - 김영훈 / 2006 / National Geographic이 본 코리아: 1890년 이후 시선의 변화와 의미 / 한국문화연구 10
[학술지(정기간행물)] - 민정기 / 2004 / 點石齋畵報가 그려낸 1884년의 上海 조계 - 시선과 재현의 문제 / 중국학보 50 : 97 ~ 114
[학술지(정기간행물)] - 박효은 / 2008 / 근대전환기 개항장의 朝鮮畵家 金俊根 / 한국기독교박물관지 (4)
[단행본] - 김광언 / 2003 / 箕山 한국의 옛 그림 / 민속원
[학술지(정기간행물)] - 김영훈 / 2006 / National Geographic이 본 코리아: 1890년 이후 시선의 변화와 의미 / 한국문화연구 10
[학술지(정기간행물)] - 민정기 / 2004 / 點石齋畵報가 그려낸 1884년의 上海 조계 - 시선과 재현의 문제 / 중국학보 50 : 97 ~ 114
[학술지(정기간행물)] - 박효은 / 2008 / 근대전환기 개항장의 朝鮮畵家 金俊根 / 한국기독교박물관지 (4)
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