Departmental Bulletin Paper 植民地期朝鮮における創作版画の展開(6) : 朝鮮人美術家による日本の創作版画の修得とその展開について

辻(川瀬), 千春  ,  TSUJI (KAWASE), Chiharu

33pp.41 - 59 , 2018-03-01 , 名古屋大学博物館
ISSN:1346-8286
Description
本稿では,これまで詳述されることのなかった植民統治下(1910–1945)に,朝鮮人美術家が日本や朝鮮において日本人美術家との交流や指導を通して創作版画を始め,版画創作活動を展開したことを,現存する版画作品の実見,当時の新聞・雑誌等の公刊された史料の分析及び証言などに基づき3つの事例について明かした.1つ目の,朝鮮人として初めて創作版画集を刊行し,朝鮮において版画の個展を開催した京城(現・ソウル)の李秉玹と金貞桓は,同地の日本人美術家のネットワークとの関わりを経て創作版画を始め,さらに日本本土においても日本人出版家らとの出会いによって美術活動を展開していた.2つ目の平壌の崔榮林と崔志元らは同地に移住した版画家小野忠明から版画の指導を受け,また小野も彼らの側に立って版画創作を展開した.そして3つめの京城の李昞圭は,日本留学時に創作版画を知り,帰国後に母校養正高等普通学校の校友会雑誌『養正』の表紙絵に創作版画を寄せ続けた.しかし,独自の画境にそれを昇華させた崔榮林を除き,彼らはいずれも1940年前後から版画創作をしていない.それは,彼らがそこに彼らが知る日本や日本人ならではの風情を見たため,朝鮮人の美術家として同地においてそうした版画創作を続けることはできなかったと推察される.
This paper reports several Korean artists who started the Sosaku Hanga (modern woodblock prints) movement. They developed activities of the Sosaku Hanga during a period of colonial rule (1910–1945) through interactions with and instructions from Japanese artists in Japan and Korea. There was no full-scale research focusing on the creation of the Sosaku Hanga by Korean artists who interacted with Japanese artists. In this research, I examined three examples of creative activities by Korean artists, analyzed historical materials, such as their art books of the Sosaku Hanga, newspapers and magazines, and clarified a gap in the art history of both Japan and Korea. ByeongHyeon Lee and JeongHwan Kim in Kyongsong developed activities of the Sosaku Hanga with the support from Japanese publishers in mainland Japan after their involvement in the network of Japanese artists in Korea. JiWon Choi and YoungLim Choi in Pyeongyang received guidance of the Sosaku Hanga from Tadaakira Ono, a Japanese artist who emigrated to Pyeongyang. Ono also enthusiastically worked to develop the activities of the Sosaku Hanga with them. ByeongGyu Lee in KyongSong continued to provide a series of his Sosaku Hanga for the cover pictures of the“ Yang Chung(養正)”, which was a Yangchung high school magazine, after he returned from Japan finishing his study. However, except for YoungLim Choi, who perfected his art to his own style, the Korean artists did not produce the Sosaku Hanga after around 1940. It was probably an unacceptable act to make such prints in their country as Korean artists, because they saw the emotions representing the mainland Japan and Japanese in the Sosaku Hanga.
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