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二十世紀前半の韓国における「風景」の認識とその受容
https://doi.org/10.18953/00009071
https://doi.org/10.18953/00009071eba4d020-15e9-4c24-a347-9fc5b6f6407c
名前 / ファイル | ライセンス | アクション |
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Item type | 学術雑誌論文 / Journal Article(1) | |||||||||||||
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公開日 | 2023-12-29 | |||||||||||||
タイトル | ||||||||||||||
タイトル | 二十世紀前半の韓国における「風景」の認識とその受容 | |||||||||||||
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タイトル | Korea’s Awareness of the “Landscape” Painting Genre and Its Acceptance in the Early 20th Century | |||||||||||||
言語 | en | |||||||||||||
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言語 | jpn | |||||||||||||
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資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||||||
資源タイプ | journal article | |||||||||||||
ID登録 | ||||||||||||||
ID登録 | 10.18953/00009071 | |||||||||||||
ID登録タイプ | JaLC | |||||||||||||
著者 |
李, 聖禮
× 李, 聖禮
× 日比野, 民蓉
× Lee, Sungrye
× Hibino, Miyon
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内容記述タイプ | Abstract | |||||||||||||
内容記述 | The “landscape” concept was introduced to Korea from Japan at the start of the 20th century. Translated from the English term “landscape,” the Japanese term fûkei (風景) acquired a new meaning, “the state of the visible features of an area, or its scenery and customs.” The new Korean term pungyeong (風景) replaced the traditional term for such imagery, sansu (山水), literally “mountains and water,” and thus a new genre of Korean landscape painting was created. In particular, the Joseon Arts Exhibition (1922 - 1944) provided Korean artists with opportunities to study ways of reproducing and embracing Korean landscapes. Based on the winning artworks at the exhibition, landscape painting subject matter was largely classified into natural scenery, urban scenery, and historic places and sites. In the early years of this annual exhibition, most of the landscape paintings entered in the competition were realistic depictions of nature. Some works featured scenery as it changed from moment to moment and depicted its seasonal and climatic characteristics, while others included people living amid nature. Conversely, after the mid-1920s, the exhibition saw an increase in the number of works which aimed to reproduce urban spaces as centers of modern daily life. After Japan’s annexation of Korea, the Japanese either damaged or demolished parts of many Korean cities, including the capital, Gyeongseong (present day Seoul), in order to build Japanese government offices and facilities for its colonial rule, and that entire process was represented in Korean landscape paintings. Other subjects included historic sites or places and buildings bearing traces of the country’s history. The Joseon Arts Exhibition, in which painters from all over the country participated, served as a venue that brought together Korean landscape paintings of famous historic sites around the country. Some painters expressed a sense of empathy toward a particular historic site in their hometown where they were born and raised, revealing the identity and historicity of the space. As described above, early 20th century landscape paintings display the process by which the landscape painting genre was accepted and established in Korea since its introduction to the country. Early landscape paintings capturing the natural landscapes, sentiments and regional identities of the Korean Peninsula have been regarded as highly significant from Korea’s liberation to the present day as they embody the origin of Korean landscape paintings. | |||||||||||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 435, p. 1-24, 発行日 2021-12-28 |