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문정희(Moon Junghee) 한국미술연구소 2003 美術史論壇 Vol.- No.16·17
After Japan occupied Taiwan (1895), it annexed Korea (1910) and really came to build colonies. It put up 'assimilation' policy for the civilizing of the East Asia aimed at the rule of colonies on the surface. However. in reality. it is understood by everybody that rbe above policy was me one aimed at discriminating colonial region as inferior people. And since here lies intentional 'making self internal (domination)', or 'making internal stranger (discrimination)' consciousness together I think it played a great role for highlighting me form of a colony. The local color or the color of a native town came to stress ihe thematic factor through the request of Japanese judging committee members, the request of Japanese judging committee members as joseon An Exhibition began to be held. This request as Joseon Art Exhibition began to be held. This request came to be futther consolidated by the hold.ing of Taiwan Art Exhibitions We cannot doubt that me above is a pan 0 me policy of the colonization of the culture by Japanese government And it reveals Japanese colonialism by means of me govemment-sponsored art exhibition and shows that it discriminates the interior land from the exterior land nakedly. We can see that by merely looking at the works of the painters of the corresponding colonies which displayed tbe consciousness of native land by using female as a theme me orientalism getting out of political thing and stressing non-civilization was applied as it is. Consequently the consciousness of a native land which appeared to the painters of Taiwan An Exhibition grew up in the local color that is a product of Japanese colonialism. And this consciousness entered another way seeking me clisposition of nationalism brings about the making of main land (in case of Taiwan) and the color of a native land (in case of Korea). The common trait which appeared to the an community of Taiwan and Korea is the faa mat the Japanese influence aiticizing tbe westem modernization and aying out for returning to oriental spirit came to be further stressed through local color. This makes a dual stranger what is non-western and pie-modem aspect so mat Taiwan color or joseon color showed orienta] image as non-western and pre-modem view. In particular this oriental nature shows its characteristic as primitive theme which accepted tbe fauvism of the westem modernism. The local color in government-sponsored art exhibition also makes the interpretation of the conflicting position diverging into the colonialism of dom.ination logic and me natialism of the dominated. And I think that ule deep-seated interpretation of the problem will be accompanied. depending how the local color demanded from Ule colonial ruler is accepted and developed. Consequently through this study I compared the local color made by the sponsors of colonialism with the paintings shown at taizhand and at sonjeon, and examined the position of accepting them. However, as the method of the study has a limit in which all-out and multilateral groping, I am going to wait for more advanced study.
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문정희(Moon Junghee) 한국근현대미술사학회 2008 한국근현대미술사학 Vol.19 No.-
Of those visual images which could describe the colonized city of Gyeongseong (present-day Seoul) in the 1930s as the term “modern,” “women” was well manifested through the most popularized media. Likewise, common Western/ Oriental mixed elements could be found in Gyeongseong and Shanghai. Gyeongseong showed phenomenon that were very similar to the popular images projected by Shanghai which encompassed elements of an international city although Shanghai became a colonial settlement in the early modern age and was influenced by Japanese colonial rule. Significantly successful were researches on artistic modernism from the perspectives of the history of fine arts system and the history of styles. But research on “modern” from the perspectives of the history of fine arts culture has yet to be activated, and “modern” has yet to be further researched from the interdisciplinary convergence perspectives across social and cultural spectrums. But the temporal characteristic of women’s images that were created in the urban space of Gyeongseong in the early modern age was not just limited to Gyeongseong; such women’s images held a simultaneous common characteristic in the transcendental area, because in Shanghai, China, as well as Japan which led the development of cutting-edge fashions, the attribute of “modern” emerged as a spatial-temporal phenomenon. The “modern” image of women shown in Shanghai and Gyeongseong could be said as the most common international style of the 1930s. The two cities were very different in terms of the history and size of development, but commonly handled “women” of the early modern times. To date, the dichotomic distinction between old/new, men/women, colony founding nations/ colonies, center/periphery, and cities/rural areas has dominated the agenda of humanities sciences that argue “modern.” But these efforts have been limited without prompting active discussions. Thus, this study examined how the gestures and poses similar to those of heroines in Hollywood movies that described the Western society were expressed as the desire for consumption culture in the image of women of Gyeonseong and Shanghai. Also, this study examined the international elements of the “modern” style in the 1930s. Accordingly, questioning why the image of women shown in mass media of urban spaces emerged as a universal phenomenon in East Asia, this paper identified the temporal needs of “Oriental classics” that were hidden in the mixed “modern” style that represented the West.
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