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      • KCI등재

        일본의 근대 후기인상파 수용 ―『시라카바(白樺)』를 통한 세잔, 고흐 수용을 중심으로―

        문형자 한국일본문화학회 2021 日本文化學報 Vol.- No.89

        This paper considers the influence of "Shirakaba" and the post impressionism acceptance process in Japan, focusing on Cézanne. and Van Gogh. "Shirakaba" started as a literary magazine in 1910, providing the artistic as well as literary grounding in society that helped to promote Western art in Japan. With the latest exhibition of Cézanne's paintings and their replicas introduced by Shirakaba, young artists such as Yorozu Tetugorou, Kishita Ryusei, and Saeki Yuzo were able to pioneer new genres such as Japanese-style Fauvism and Cubism. In addition, the art exhibitions and Nika exhibitions hosted by Shirakaba served as a showcase to foster talent. The publication of the artwork of Cézanne and Van Gogh in "Shirakaba" triggered the creation of numerous art groups (Fusain-kai, NIKA-kai, Soudousha, and Shunnyou-kai) at the end of the Meiji and early Daisho period, setting the stage for the rise of new painting movements. Artists like Cézanne and Van Gogh were not only published in "Sirakaba" because the Shirakaba Society was swept away by the circumstances or atmosphere at that moment. This suggests that the artistic interests expressed in "Shirakaba" by the Shirakaba Society did not reflect their historical and artistic perceptions, but rather their savoring art as a hobby.

      • KCI등재

        시라카바파(白樺派)의 서양미술 수용과정 -『시라카바(白樺)』와 「니카회(二科会)」를 중심으로-

        문형자(文亨子) 한국일본문화학회 2020 日本文化學報 Vol.0 No.86

        This study examines the effects of the Shirakaba school’s acceptance of Western art with a focus on the “Shirakaba” and "Nika" groups. Since the Meiji period, Japan has implemented a national policy aimed at catching up with Western advancements and there has been a movement to reflect this trend in the art field. In the early Meiji period, the promotion of art grew under the protection of the government as part of national policy. The Meiji government established an art school and a government-sponsored exhibition to implement policies. However, there has been a series of abuse aimed at exhibition judges, undermining their authority and the nature of the policy that tried to bring advanced art into the system. Seiki Kuroda, a teacher at the Tokyo art school and then head of the Hakuba society attempted to overcome this situation. Shirakaba school formed the Nika group, insisting on seeing anti-academy and anti-exhibition participation. In the end, the Shirakaba school and Shirakaba magazine served as spearheads to promote Western art in Japan in the course of Japan’s modern westernization as well as stepping stones to nurture students after school. Meanwhile, as Kojima Kikuo and Hosokawa Moritatsu who were involved in the Shirakaba school had a certain status in the Western art troupe of Japan, intervened in the production of the portrait of Yasui Sotaro. Finally, the Shirakaba school has led to excessive interference in the creative activities of their successors.

      • KCI등재

        일본의 근대 후기인상파 수용 - 『시라카바(白樺)』를 통한 세잔, 고흐 수용을 중심으로 -

        문형자(文亨子) 한국일본문화학회 2021 日本文化學報 Vol.- No.89

        This paper considers the influence of "Shirakaba" and the post impressionism acceptance process in Japan, focusing on Cézanne. and Van Gogh. "Shirakaba" started as a literary magazine in 1910, providing the artistic as well as literary grounding in society that helped to promote Western art in Japan. With the latest exhibition of Cézanne"s paintings and their replicas introduced by Shirakaba, young artists such as Yorozu Tetugorou, Kishita Ryusei, and Saeki Yuzo were able to pioneer new genres such as Japanese-style Fauvism and Cubism. In addition, the art exhibitions and Nika exhibitions hosted by Shirakaba served as a showcase to foster talent. The publication of the artwork of Cézanne and Van Gogh in "Shirakaba" triggered the creation of numerous art groups (Fusain-kai, NIKA-kai, Soudousha, and Shunnyou-kai) at the end of the Meiji and early Daisho period, setting the stage for the rise of new painting movements. Artists like Cézanne and Van Gogh were not only published in "Sirakaba" because the Shirakaba Society was swept away by the circumstances or atmosphere at that moment. This suggests that the artistic interests expressed in "Shirakaba" by the Shirakaba Society did not reflect their historical and artistic perceptions, but rather their savoring art as a hobby.

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