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.
초록· 키워드
오류제보하기
As building connections between paintings and economic environment have begun to emerge, a variety of matters related to the value of paintings becomes open to question, especially in the case of famous artists. When we look at the Japanese Modern Art from an economic perspective, it is questionable if the value of painter"s work is based on its original value of the painting or some sort of his or her social status or reputation.
Moreover, in the Kang-Ho period it is open to question if the price of a famous artist"s painting guarantees the quality of the painting or the quality of painting guarantees the painter"s economic success. Needless to say, any conflict between these correlations could be the case quite a few.
Unlike to a bottom painter or a civil painter, the painter who worked for "Ukiyoe" as his or her karma lived a life of many hardships and the price of painting was too low to be compared. Besides, the value of "Ukiyoe" was lower than a piece of drawing since it was replication of art. In addition, considering the number of the "Ukiyoe" artists that is as many as the sand of the sea, they had to appeal to a master painter and make their paintings attractive enough to ring the heartstrings of a master. Thus "Ukiyoe" had to face the reality and express the sense of reality that came from people living in the real world.
"Ukiyoe", however, has not been considered as art till the late Edo period. Although the artistic value of the painting was not lower than the value of a court painter"s or a civil one"s, "Ukiyoe" of Utagawa school(歌川派) including Hirosige(廣重) or Hokusai(北齋) could be easily purchased and appreciated at the price of a bowl of udong by anyone.
"Ukiyoe" is one of the art genre which has its significance in the sense of beauty and technique. "Ukiyoe", however, was widely considered vulgar and civil art due to its biased view which derived from class consciousness in the Kan-Ho period.
Moreover, in the Kang-Ho period it is open to question if the price of a famous artist"s painting guarantees the quality of the painting or the quality of painting guarantees the painter"s economic success. Needless to say, any conflict between these correlations could be the case quite a few.
Unlike to a bottom painter or a civil painter, the painter who worked for "Ukiyoe" as his or her karma lived a life of many hardships and the price of painting was too low to be compared. Besides, the value of "Ukiyoe" was lower than a piece of drawing since it was replication of art. In addition, considering the number of the "Ukiyoe" artists that is as many as the sand of the sea, they had to appeal to a master painter and make their paintings attractive enough to ring the heartstrings of a master. Thus "Ukiyoe" had to face the reality and express the sense of reality that came from people living in the real world.
"Ukiyoe", however, has not been considered as art till the late Edo period. Although the artistic value of the painting was not lower than the value of a court painter"s or a civil one"s, "Ukiyoe" of Utagawa school(歌川派) including Hirosige(廣重) or Hokusai(北齋) could be easily purchased and appreciated at the price of a bowl of udong by anyone.
"Ukiyoe" is one of the art genre which has its significance in the sense of beauty and technique. "Ukiyoe", however, was widely considered vulgar and civil art due to its biased view which derived from class consciousness in the Kan-Ho period.
목차
1. 들어가기
2. 浮世繪가격과 제작환경
3. 歌川派 繪師의 생활환경
4. 나오기
參考文獻
Abstract
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