KCI등재
적에서 동맹으로: 20세기 중반 미국미술 속의 일본 내셔널리즘 = From Enemy to Ally: Imaging Japanese Nationalism in American Art during the Postwar Years
저자
조은영 (원광대학교)
발행기관
학술지명
서양미술사학회논문집(Journal of the Association of Western Art History)
권호사항
발행연도
2009
작성언어
Korean
주제어
등재정보
KCI등재
자료형태
학술저널
발행기관 URL
수록면
223-250(28쪽)
KCI 피인용횟수
1
제공처
소장기관
During the postwar and Cold War period, the status and image of Japan in the United States took on a rapid transformation—from America’s enemy to an indispensable ally. As the US needed Japan as a valuable partner in the Cold War, American efforts to recreate and circulate a new and agreeable image of Japan appeared in various areas, ranging from political arenas to Hollywood films and art museums. In tandem with American endeavors and in an effort to promote its national image as a new cultural power, Japan attempted to replace its jingoistic image with an aesthetic one and circulated its art and ideas throughout the US.
Demonstrations of Japanese art and culture, including Zen aesthetics, were positively and often enthusiastically received among Americans in general despite the strong nationalistic stance of prominent New York critics who championed Abstract Expressionism as “the American-type painting” and denied/ignored any kind of “oriental” influence on mainstream New York artists. The study and utilization of Zen became a widely spread phenomenon among postwar American artists and intellectuals. Many American artists, including Mark Tobey, Morris Graves, Ad Reinhardt, Isamu Noguchi, Ibram Lassaw, John Cage, and the Beats, took part in the “Japan boom” and “Zen boom.” The appropriation of Zen and Asian aesthetics by American artists during the postwar and Cold War era is now viewed as a summit of cultural/artistic interchanges between the US and East Asia, an aesthetic fusion of the West and East in the history of American art.
However, in a discussion about Zen in the field of American art, we are bound to ask: whose Zen and which Japanese aesthetics did American artists encounter? Zen in American art has kept much stronger ties with Japanese Zen rather than with either Chinese Chan or Korean Sun. In disseminating Japanese aesthetics, Japanese art and Zen experts played the role of cultural diplomats by fostering specific aspects of Japan’s cultural heritage and advocating their ideal of Japanese Zen and art among American artists and the public.
The popularity of Zen Buddhism was generated by the teaching and proselytizing activities of Japanese Zen proponents and popularizers such as Shaku Soen, head abbot of the Engakuji branch of the Rinzai Zen sect, and his protégé, D.T. Suzuki, as well as Okakura Kakuzo, Alan Watts, and Sabro Hasegawa, who visited or lived in the US from 1893 onward to cultivate Japanese Zen Buddhism and aesthetics in the US. In postwar America, Sabro Hasegawa, while formulating Japan’s modern art of national identity, took an important part in boosting the Zen boom and love for Japanese aesthetics in the US, to the extent that people joked the Japanese government should appoint him as an “art ambassador” for his role. Also, D.T. Suzuki, known as the most influential figure on Zen Buddhism in the West and whose teachings were employed by American artists, aggressively promulgated Zen. He contributed to making Japanese Zen more appealing and less threatening to Western audiences through his universalization of Zen by underlining its applicability to all cultures and areas as well as its aesthetic aspect.
This examination of the presence of Japanese nationalism in postwar American art suggests that a particular sect of Japanese Zen worked as a means of cultural diplomacy to build, recreate, and restore the ideal and supreme image of Japan in the West from the last decade of the 19th century onward. A sect of Japanese Zen, introduced and popularized in America, was rooted in “New Buddhism (shinbukkyo),” which was originally produced in order to be in line with the Japanese government’s nationalist and imperialist policy, as expounded in recent studies by Robert Sharp and Brian Victoria.
Accordingly, Zen of “New Buddhism” was presented to American and European audiences as the heart of Japanese culture as well as the spiritual and aesthetic quintesse...
During the postwar and Cold War period, the status and image of Japan in the United States took on a rapid transformation—from America’s enemy to an indispensable ally. As the US needed Japan as a valuable partner in the Cold War, American efforts to recreate and circulate a new and agreeable image of Japan appeared in various areas, ranging from political arenas to Hollywood films and art museums. In tandem with American endeavors and in an effort to promote its national image as a new cultural power, Japan attempted to replace its jingoistic image with an aesthetic one and circulated its art and ideas throughout the US.
Demonstrations of Japanese art and culture, including Zen aesthetics, were positively and often enthusiastically received among Americans in general despite the strong nationalistic stance of prominent New York critics who championed Abstract Expressionism as “the American-type painting” and denied/ignored any kind of “oriental” influence on mainstream New York artists. The study and utilization of Zen became a widely spread phenomenon among postwar American artists and intellectuals. Many American artists, including Mark Tobey, Morris Graves, Ad Reinhardt, Isamu Noguchi, Ibram Lassaw, John Cage, and the Beats, took part in the “Japan boom” and “Zen boom.” The appropriation of Zen and Asian aesthetics by American artists during the postwar and Cold War era is now viewed as a summit of cultural/artistic interchanges between the US and East Asia, an aesthetic fusion of the West and East in the history of American art.
However, in a discussion about Zen in the field of American art, we are bound to ask: whose Zen and which Japanese aesthetics did American artists encounter? Zen in American art has kept much stronger ties with Japanese Zen rather than with either Chinese Chan or Korean Sun. In disseminating Japanese aesthetics, Japanese art and Zen experts played the role of cultural diplomats by fostering specific aspects of Japan’s cultural heritage and advocating their ideal of Japanese Zen and art among American artists and the public.
The popularity of Zen Buddhism was generated by the teaching and proselytizing activities of Japanese Zen proponents and popularizers such as Shaku Soen, head abbot of the Engakuji branch of the Rinzai Zen sect, and his protégé, D.T. Suzuki, as well as Okakura Kakuzo, Alan Watts, and Sabro Hasegawa, who visited or lived in the US from 1893 onward to cultivate Japanese Zen Buddhism and aesthetics in the US. In postwar America, Sabro Hasegawa, while formulating Japan’s modern art of national identity, took an important part in boosting the Zen boom and love for Japanese aesthetics in the US, to the extent that people joked the Japanese government should appoint him as an “art ambassador” for his role. Also, D.T. Suzuki, known as the most influential figure on Zen Buddhism in the West and whose teachings were employed by American artists, aggressively promulgated Zen. He contributed to making Japanese Zen more appealing and less threatening to Western audiences through his universalization of Zen by underlining its applicability to all cultures and areas as well as its aesthetic aspect.
This examination of the presence of Japanese nationalism in postwar American art suggests that a particular sect of Japanese Zen worked as a means of cultural diplomacy to build, recreate, and restore the ideal and supreme image of Japan in the West from the last decade of the 19th century onward. A sect of Japanese Zen, introduced and popularized in America, was rooted in “New Buddhism (shinbukkyo),” which was originally produced in order to be in line with the Japanese government’s nationalist and imperialist policy, as expounded in recent studies by Robert Sharp and Brian Victoria.
Accordingly, Zen of “New Buddhism” was presented to American and European audiences as the heart of Japanese culture as well as the spiritual and aesthetic quintessence o...
분석정보
연월일 | 이력구분 | 이력상세 | 등재구분 |
---|---|---|---|
2027 | 평가예정 | 재인증평가 신청대상 (재인증) | |
2021-01-01 | 평가 | 등재학술지 유지 (재인증) | KCI등재 |
2018-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2015-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2011-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2009-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2007-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2004-01-01 | 평가 | 등재학술지 선정 (등재후보2차) | KCI등재 |
2003-01-01 | 평가 | 등재후보 1차 PASS (등재후보1차) | KCI후보 |
2002-01-01 | 평가 | 등재후보학술지 유지 (등재후보1차) | KCI후보 |
1999-07-01 | 평가 | 등재후보학술지 선정 (신규평가) | KCI후보 |
기준연도 | WOS-KCI 통합IF(2년) | KCIF(2년) | KCIF(3년) |
---|---|---|---|
2016 | 0.49 | 0.49 | 0.5 |
KCIF(4년) | KCIF(5년) | 중심성지수(3년) | 즉시성지수 |
0.43 | 0.42 | 1.309 | 0.23 |
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