KCI등재
의도된 民族性, 官展 臺灣鄕土色 硏究 = A Study on Intended Nationality, Taiwan Local Color of the Official Art Exhibition
저자
발행기관
학술지명
권호사항
발행연도
2001
작성언어
Korean
주제어
등재정보
KCI등재
자료형태
학술저널
수록면
65-106(42쪽)
제공처
소장기관
This treatise is the academism of the department of me Oriental paintings in the Taiwan Official Art Exhibition during me Japanese occupation period represented by the Taiwan Art Exhibition (1927-1936) and by me Taiwan Viceroy Government Art Exhibition (1938-1943).
Most of the existing studies regarding the style of the Official Art Exhibition during the Japanese days represented by the Taiwan Local Color are those which grasp this academism in the light of nationalistic perspective. Accordingly, I began with the study of the details concerning the establishment of the Taiwan Art Exhibition in order to critically review the existing result of the study.
In the treatise seen throught this discussion, I could confirm that, even if the Taiwan Art Exhibition was led by the Taiwan Educational Committee, it was organized and grew under the jurisdiction of me Viceroy Government practically.
Through the analysis of the Department of the Oriental Paintings of the Taiwan Art Exhibition and the Taiwan Viceroy Government Art Exhibition, I could confirm that they made efforts to express the Taiwan Local Color not only in the paintings of flowers and birds, portraits, and landscapes, but also in all genres and that these works of the Taiwan Local Color have grown into the Taiwanese academism.
I could divide the style of the paintings of birds and flowers of the 16 Official Art Exhibitions generally into that of the Taiwan Art Exhibition and that of the Taiwan Viceroy Government Art Exhibition. As the paintings of birds and flowers of the Official Art Exhibition transformed themselves in the direction its trend from portryaing the like lines of the shape to pursuing the spirituality of the object, the expressionistic passion and decorativeness which were commonly seen in the paintings of birds and flowers of the previous era in the Taiwan Viceroy Government Art Exhibition, disappeared and changed into more reactionary oriental paintings. After all, this is the issue of how we should modernize tradition, and it was caused by the discussion of 'oriental nature common' in Korea, Japan, Taiwan in which the problem of the interpretation of the oriental nature is changing into more reactionary perspective, emphasizing the subjectivity about rational reasoning.
It was evaluated that these paintings of birds and flowers of the Official Art Exhibition chose the Taiwanese material and revealed the Taiwan Local Color well enough, and these paintings surfaced and grew as the genre most preferred by painters.
By bringing to light the fact that the works which described the quiet and snug mood of rural area, one of typical forms of the landscapes of the department of the oriental paintings of the Taiwan Art Exhibition which is similar to the works of "Lee Sang-Beom" who has established the style of the Chosun Local Color in the Chosun Art Exhibition, I could perceive that the identity of their works was, after all, the expression of the Local Color of the orient. After all, this nude the identity of each country exist in the oriental nature and came to serve as an ideology aimed at emphasizing the ought of the sphere of co-prosperity of the Great East Asia.
As for portraits, the paintings which contained the view in which the peaceful rural districts existing before the development of civilization was established as a background of a person, and became one with nature, was a typical form which expressed the Taiwan Local Color. This form can be commonly seen not only in the Taiwan Official Art Exhibition but also in the Chosun Art Exhibition. Besides this, the works of the Taiwan Local Color dealing with the women wearing traditional clothes and dealing with the Taiwanese customs were mainly produced. In connection with this, the view of cultivation traditional arts were adopted as material in the Taiwan Viceroy Government Art Exhibitionl, This was handled as a form of the times aimed at women's role in which women were u
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