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김혜신(Kim Hyeshin) 서양미술사학회 1999 서양미술사학회논문집 Vol.11 No.-
After the Meiji Reformation in 1868, the Meiji government retained national independence from the powerful westerncountries and enforced a policy in many areas to preserve the Japanese cultral tradition. During this period, a modern national system which currently gave the name ‘Japan’ was established and many terms that began with the prefix ‘Japan’ such as ‘Japanese people’, ‘Japanese language’, and ‘Japanese literature’ were created. By associating the formation process of ‘Japanese Art’ which was materialized during the Meiji Era with the foundation of Japan as a nation, this essay aims to think about how the visage of Meiji Japan is portrayed in the domain of the art culture. The current ‘Japan’ of today is a nation state that was founded from the end of the Tokugawa period and throughout the beginning of the Meiji period. A nation state is a sovereign union where a distinct territory is defined by the national boundaries, and the nation as a citizen commonly possesses the national identity. The term ‘art’ was first introduced during the ‘vienna World Exhibition’ where Japan participated for the first time. It was a translated word for the German, ‘Kunstgewerbe’. The first published work that systematically narrated the history of Japanse art was ‘Histoire de l’ Art du Japon’ written in French at the ‘Paris All Nations Expo’ of 1900. In contrast to Meiji Japan’s catchphrases such as ‘industrial foundation and prosperity’ and ‘enrichment of nation and empowerment of national defense’, here at the Expo amongst many western countries, Japan was acclaimed as a country for its refined and feminine Ukiyo-e and craft art. In eastern Asia, after Japan took the victory in both Sino-Japanese War(l894) and RussianJapanese War(l904), it walked the path of Imperialism by aiming to colonize its neighboring countries. The Meiji Japan’s consciousness toward the west and that of its own nation were operated on two axes that composed of the concepts, ‘Japanese Painting’ and ‘western Painting’. As a way to position itself in the midst of the world, Japan saw the west as the entire world itself and chose to detach from the Asian realm and entered the passageway toward the west. The period when ‘Japanese Painting’ and ‘western Painting’ developed as two opposing concepts is simultaneous to the enactment of the Great Imperial Japan’s constitution and the foundation of the imperial congress of 1899 that led to the systematization of the modern state nation. In the beginning of 1880’s, a movement starts to take place where following the western trends excessively is restrained and attempts to return to the traditional Japan is made. However, since Meiji Japan was fundamentally a pro-western organization, and as long as the concept ‘Japanese art’ was a term with the west in mind, once infiltrated western art styles could not be denied all together. As a result, the paintings that dealt with history became a new trend. Here many paintings depicted Japanese history, religion, legends, and old tales. By this way, within the framework of western historical painting style, Japan was able to contain its unique tradition. In the west, historical painting had an effect of delivering national ideology to the public. Because Japan was one step behind in the modernization process, these historical and mythical subjects were demanded by the Meiji Japan that longed to confirm its identity as a westernized modern nation. In these paintings, along with traditional Japanese themes eastern subjects such as India were emphasized also, and thus played the role of clarifying Japan’s position as an ideal spiritual center in the east. The Meiji Era showed that Japan was a civilized nation that was not inferior to the western power. It was also a period of constant forward motion with the question of how to harmonize the realities of western civilization and the mental chaos that follows in the process of acc
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