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
Catholic and Western art reached East Asia with the expansion of trade by Spanish and Portuguese merchants and the activities of Jesuit missionaries in the region. Western art first reached Japan, during the late Muromachi period(1338~1573). Oil paintings and copperplate prints brought into the country by Westerners were copied using Japanese materials and painting techniques, or reproduced in the form of woodblock prints.
Records indicate that a considerable number of works produced using such new techniques were sold overseas or sent abroad as gifts from Japan and China. In Japan, in particular, works featuring Western motifs were mounted on folding screens and sent as gifts to influential figures overseas; several examples survive today. Works featuring Christian motifs, popular among Westerners, were also sometimes produced and attracted the attention of Westerners thanks to their exotic nature.
Previously, little was known about the subject matter of these items once they arrived overseas, but the recent revelation of a number of works has attracted new attention. The aim of this study is to use these works as a basis for tracing the roots of motifs and expression in Western-influenced works, and to re-examine their origins.
Jacob Niwa(1579~1638)’s painting of Jesus Christ holding a globe, symbolizing his status as ruler of the universe, was based on a copperplate print by Marten de Vos(1531~1603). This motif, known “Salvator Mundi,”(“savior of the world”) is frequently found in 14th and 15th-century works. Christ’s right hand, bestowing blessings, symbolizes God’s mercy, while the orb in his left hand represents the Earth and the cross above it stands for victory over all creation.
The 14th~15th century prayer book Book of Hours has been cited as the source of La Passion du Christ, a book of engravings by Anton Wierix based on paintings by de Vos. This is a reference to the abundant flower and animal images used decoratively around the pictures themselves; such images were taken from contemporary illustrated guides to flora and fauna and are characterized by their elaborate accuracy and realism. Similar images are found in numerous copperplate prints produced by the Wierix publishing house in the 16th and 17th centuries.
One example of a Chinese folding screen is the coromandel lacquer piece in the collection of the Fundação Oriente Museu in Lisbon, Portugal. This work features multiple motifs from the life of Christ, while showing a combination of Western and Chinese-style techniques. Thought to have been produced in Macau, it is valuable for its rarity: few examples of Western motifs rendered in lacquer through a combination of Eastern and Western techniques survive.
Meanwhile, a large folding screen in the collection of the Museo Soumaya in Mexico City depicts the great flood from the story of Noah. The lack of other works depicting this event using such diverse means of expression makes this a remarkable screen. It appears to have been produced as a gift to be sent overseas. The screen shows both Chinese and Japanese stylistic elements, prompting the assumption that it was initially produced in China, then sent abroad, before entering Japan, being repaired, then sold abroad once again. Such examples are interesting in that they illustrate the way in which screens produced in China or Japan found their way abroad, and display a mixture of Eastern and Western artistic techniques.
Records indicate that a considerable number of works produced using such new techniques were sold overseas or sent abroad as gifts from Japan and China. In Japan, in particular, works featuring Western motifs were mounted on folding screens and sent as gifts to influential figures overseas; several examples survive today. Works featuring Christian motifs, popular among Westerners, were also sometimes produced and attracted the attention of Westerners thanks to their exotic nature.
Previously, little was known about the subject matter of these items once they arrived overseas, but the recent revelation of a number of works has attracted new attention. The aim of this study is to use these works as a basis for tracing the roots of motifs and expression in Western-influenced works, and to re-examine their origins.
Jacob Niwa(1579~1638)’s painting of Jesus Christ holding a globe, symbolizing his status as ruler of the universe, was based on a copperplate print by Marten de Vos(1531~1603). This motif, known “Salvator Mundi,”(“savior of the world”) is frequently found in 14th and 15th-century works. Christ’s right hand, bestowing blessings, symbolizes God’s mercy, while the orb in his left hand represents the Earth and the cross above it stands for victory over all creation.
The 14th~15th century prayer book Book of Hours has been cited as the source of La Passion du Christ, a book of engravings by Anton Wierix based on paintings by de Vos. This is a reference to the abundant flower and animal images used decoratively around the pictures themselves; such images were taken from contemporary illustrated guides to flora and fauna and are characterized by their elaborate accuracy and realism. Similar images are found in numerous copperplate prints produced by the Wierix publishing house in the 16th and 17th centuries.
One example of a Chinese folding screen is the coromandel lacquer piece in the collection of the Fundação Oriente Museu in Lisbon, Portugal. This work features multiple motifs from the life of Christ, while showing a combination of Western and Chinese-style techniques. Thought to have been produced in Macau, it is valuable for its rarity: few examples of Western motifs rendered in lacquer through a combination of Eastern and Western techniques survive.
Meanwhile, a large folding screen in the collection of the Museo Soumaya in Mexico City depicts the great flood from the story of Noah. The lack of other works depicting this event using such diverse means of expression makes this a remarkable screen. It appears to have been produced as a gift to be sent overseas. The screen shows both Chinese and Japanese stylistic elements, prompting the assumption that it was initially produced in China, then sent abroad, before entering Japan, being repaired, then sold abroad once again. Such examples are interesting in that they illustrate the way in which screens produced in China or Japan found their way abroad, and display a mixture of Eastern and Western artistic techniques.
목차
Ⅰ. 머리말
Ⅱ. 서양의 기독교 주제 동판화
Ⅲ. 중국의 기독교 說話圖 병풍
Ⅳ. 중국 제작과 일본 수리의 大洪水圖 병풍
Ⅴ. 맺음말
참고문헌
〈Abstract〉
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
17~18세기 코로만델 칠병풍의 제작과 소비 양상
미술사학연구(구 고고미술)
2021 .12
-
20세기 인쇄 병풍화의 유행과 民畵에의 영향 : 翎毛·花鳥畵를 중심으로
미술사논단
2016 .06
-
19-20세기 병풍차(屛風次)의 제작과 유통
미술사와 시각문화
2018 .01
-
國立中央博物館 所藏 通信使 受贈 日本 金屛風 考察
미술자료
2017 .06
-
조선 후기 한궁도 연구
미술사학연구(구 고고미술)
2018 .09
-
Extending the Concept of the N Screen
한국기초조형학회 작품집
2023 .07
-
An Analysis of the Lacquer Art of the Exported Folding Fans of the Qing Dynasty in China
Archives of Design Research
2021 .08
-
Window, Frame, and Screen are Flat
TECHART: Journal of Arts and Imaging Science
2016 .02
-
스크린 골프연습장의 경험적 소비특성, 감정반응 및 소비 후 행동의 구조관계
한국체육과학회지
2016 .12
-
스크린골프의 사회적 수용과정과 대중산업 속성 : `계몽의 변증법` 관점에서
한국사회체육학회지
2018 .02
-
스크린골프 연구 지형의 사회학적 탐색
한국사회체육학회지
2024 .07
-
관객의 시각적 ‘몰입’을 위한 특수상영관의 현황과 전망 : 스크린X를 중심으로
영상기술연구
2018 .06
-
1879년 순종의 천연두 완치 기념 계병(稧屛)의 제작과 수장
미술사와 시각문화
2017 .01
-
18～19세기 동아시아삼국의 서양화법 도입과 전개
동양예술
2020 .01
-
프라이버시 보호를 위한 폴더블 폰의 접이식 스크린 활용에 대한 사용자 경험 연구
Archives of Design Research
2021 .05
-
Exploring the possibilities of screen golf for the post-corona era - through analysis of participants’ work-life balance and happiness -
Journal of Asian Society for Health & Exercise
2021 .06
-
심상시점(心像視點)에서 본 한국 전통 자수병풍(刺繡屛風)의 조형특성 연구-조선시대 작품을 중심으로-
기초조형학연구
2017 .02
-
잊혀진 왕실 병풍, ‘花草屛’과 ‘引雛翎毛屛’
미술사논단
2016 .12
-
19세기 한·중 개항장 풍속화의 기능과 특징
한국근현대미술사학
2015 .07
-
연령에 따른 스크린 배드민턴 참여가 집중력에 미치는 영향
한국체육과학회지
2020 .12
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2016-650-002331192