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
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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