오브리 비어즐리의 작품에 나타난 우키요에의 영향

강민정 ( Kang Min Jeung ) 한국디자인트렌드학회 2014 한국디자인포럼 Vol.42 No.-

19세기말, 산업혁명이후 새로운 계층의 형성과 생산방식의 변화는 예술과 디자인에도 영향을 미쳤다. 많은 작가들은 이에 대한 해결을 위해 여러 가지 시도를 했으며, 이러한 변화에 영향을 미친 현상 중 하나가 바로 `자포니즘`이다. 일본풍에 대한 열광적인 사조인 자포니즘을 형성케 하는데 있어 가장 큰 역할을 했던 것은 에도시대의 다색 목판화인 `우키요에`였다. 우키요에는 에도의 시민계층과 대중문화의 형성이라는 배경 속에서 생성된 산물로 동양의 조형표현 특성과 철저한 분업화에 의해 생산되는 목판화의 특성을 모두 가지고 있었다. 곡선을 중심으로 하는 표현방식과 극적인 대비를 이루는 평면의 조합, 강렬한 이미지 전달을 위한 장식적인 요소들의 삽입과 대중들이 선호하는 주제는 서양의 근대 예술가들에게 이제껏 접할 수 없었던 새로운 방식에 대한 실마리를 제공하게 된다. 근대 초기의 디자인 형성에 큰 영향을 미친 `오브리 비어즐리` 역시 이러한 우키요에의 영향을 받은 작가다. 그는 우키요에를 수집하고 자신의 드로잉에 접목을 시도하였다. 그의 작품에 나타나는 유려한 곡선과 극단적인 흑백 평면의 대비, 이국적이고 화려한 장식의 표현적 특성과 적나라한 성애의 묘사와 기괴하고 공포감을 담은 이미지의 내용적 특성에서 우키요에의 영향이 드러나고 있는 것이다. 본 연구는 비어즐리의 대표 작품의 분석을 통해 그에 나타나는 우키요에의 영향을 밝혀보고, 그 결과를 바탕으로 근대 디자인의 형성에 있어 동양의 영향에 대해 고찰하였다. In the late 19th century, the formation of new social classes and changes in production methods after the Industrial Revolution influenced art and design. A number of artists made various attempts to change the ways of creating works of art accordingly. One of the phenomena that affected those changes was `Japonism`. The biggest factor in setting the trend of enthusiastic following of Japanese style, Japonism, was `Ukiyoe`, multicolored woodcuts that prospered in the Edo period. Ukiyoe was created under the influence of the emergence of citizens and popular culture in the Edo period. It was characterized by both oriental style of molding expression and an elaborate division of labor that was required for woodcut engravings. The expression method of emphasizing curved lines, the combination of flat surfaces composed of dramatically contrasted features, the inclusion of decorating elements to depict intense images, and the public favored themes provided Western artists in modern age with clues for a new style which they had never encountered before. Aubrey Beardsley who was hugely influential in the creation of a design style in the early modern age was one of the artists inspired by Ukiyoe. He collected Ukiyoe and tried to incorporate it into his illustrations. His works show the influences of Ukiyoe in terms of expressive qualities including smooth curved lines, the sharp contrast of black and white flat surfaces, exotic and splendid decorations and of content characteristic such as daring portrayals of sexual love and grotesque, frightening images. This study sought to illuminate the influences of Ukiyoe on Beardsley`s works by analyzing his major illustrations. Based on this, the present research looked into the influences of Orientalism on the formation of modern design.

우키요에의 인지도를 활용한 한일 풍속화 공동 전시 콘텐츠 필요성 고찰

강준수(Junsoo Kang) 글로벌문화콘텐츠학회 2023 글로벌문화콘텐츠 Vol.- No.54

본 연구의 목적은 우키요에(浮世繪)가 다양한 대중들에게 제시할 수 있었던 기능과 의미에 대해서 논의하는 것이다. 우키요에는 이상적인 세계, 과거, 그리고 미래의 묘사보다는 현실 묘사에 초점을 맞추는 회화이다. 우키요에는 목판화를 토대로 대량생산, 저렴한 가격을 통한 가격 경쟁력 확보, 원초적 욕망의 묘사, 대중성, 유희성, 그리고 카르페 디엠 성향을 추구한다. 일본의 우키요에가 고통스러운 현실의 긍정성을 확보하는 기능이 있는 것처럼, 한국의 조선시대 풍속화도 현실의 긍정성을 회복하는 기능을 지녔다. 전자가 세계적인 인기와 유행을 얻으면서 서양의 인상파 화가들에게 영향력을 행사했다면 후자는 상대적 인지도가 떨어진다. 지역의 차별적 특성이 가미된 문화상품이 경쟁력을 지닌 세계화 시대에 한국의 풍속화와 일본의 우키요에는 독창적 가치를 지닌다. 따라서 우키요에가 지닌 인지도를 활용하여 양국의 풍속화를 박람회 개최 및 전시관의 공동 전시 이벤트 콘텐츠를 통해서 활발한 문화 교류, 인지도 상승, 관광 소비자들의 수요 충족, 그리고 지역 경제 활성화를 도모할 필요가 있다. The purpose of this study is to discuss the functions and meanings that Ukiyoe could present to various publics. Ukiyoe is a painting that focuses on depicting reality rather than depicting the ideal world, past, and future. Based on woodblock prints, Ukiyoe pursues mass production, securing price competitiveness through low prices, depicting original desires, popularity, playfulness, and carpe diem tendencies. Just as Japanese Ukiyoe has the function of securing the positivity of painful reality, Korean genre paintings of the Joseon Dynasty also have the function of restoring the positivity of reality. While the former gained worldwide popularity and fashion and exerted an influence on Western Impressionist painters, the latter has less recognition. In the era of globalization, where cultural products with regional distinctive characteristics are competitive, Korean folklore and Japanese Ukiyoe have unique values. Therefore, it is necessary to promote active cultural exchange, increase awareness, meet the demands of tourism consumers, and revitalize the local economy by holding expositions and joint exhibition event contents in the pavilion to promote the customs of both countries by using the awareness of Ukiyoe.

黄表紙と浮世絵からみる子供の遊びと授業風景少考

강지현 한국일본언어문화학회 2024 일본언어문화 Vol.66 No.-

In order to investigate the daily life of playful children, I mainly taken up Kibyosi and Ukiyoe. In the Kibyosi, I used as texts (1) “Syotozan-tenaraizyo” and (2) “Kodomosyu-chyusingura”, both of which have the theme of children’s games. In particular, focusing on Syotozan-tenaraizyo, whose theme is Tenjin-sama’s unexpected educational policy for awakening rebellious children who hate studying, it shows an educational view that candy, not whip, is effective for problem children. Among the ukiyoe, the main texts were “Syogei-keiko-zue” (1) “Utai,” (2) “Tenarai” (3) “Yomimono,” painted by Hiroshige Utagawa, which captures scenes of mischievous children in classroom. I confirmed that these were drawn along the flow of the preceding paintings. In particular, (3) “Yomimono” depicted the same world as the custom paintings by hand “Sodan” by Kim Hong-do of the Joseon period, and it was interesting to see the same perspective of artists who lived in the same period.

풍속화(風俗畵)와 우키요에(浮世繪)에 나타난 여자복식 연구

김월계(Weol-Kye Kim) 아시아민족조형학회 2013 아시아민족조형학보 Vol.12 No.-

This study compares the costume of costume and drawing Pungsokhwa and Ukiyoe"s famous painter"s portrait of a beauty to better understand the costume of the period and find out the aesthetic consciousness through Korea and Japan"s painting and standard of the beauty from the painting. Pungsokhwa and Ukiyoe have a similarity that the main focus has been changed to the commoner and their target of drawing was the life of commoners such as working and Ginyu, Geisha, actress started to come out. The characteristic of Joseon women costume in 18th century was the silhouette of short and tight top and long exaggerated skirt which was different from the past. For Japan it was the period that kosode has become the most basic costume. The costume that appear in Pungsokhwa and Ukiyoe were same as the costume at that period. Joseon"s portrait of a beauty has a neat image by drawing semicircle eyebrows and eyes, small nose, small and thick lips and plump face. Japan"s portrait of a beauty is unique because of upward eyes and eyebrows, aloft nose and thin lips and strong lines. This study hopes that future study compares and make people to understand the culture of Korea and Japan by furthering the topic to the drawings of commoner women and landscape painting.

일본의 세화와 문배에 관한 연구

노성환(魯成煥) 한국일본문화학회 2018 日本文化學報 Vol.0 No.77

The main purpose of this article is to provide a critical overview of the Japanese New Year tradition Sewha and Munbae paintings, and the influences on the development of these folk paintings. For Sewha paintings, Egoyomi, Seven Lucky Gods treasure ship, Fuji, hawk, eggplant, folding fan, cigarette, straw and beans were themed in belief of the lucky dream as examples. In some cases, as a solution of the bad dream, Mack (imaginary creature) was also themed in Sewha paintings. On the other hand, Kadomatsu, Jonggyu, Tsunodaesa, Sominjanrae, Hiiragiiwashi were used for the Munbae paintings. These materials were not only used as the New Year customs, it was assimilated into folk paintings and emerged as multiple forms. Especially, Seven Lucky Gods treasure ship, Fuji, hawk, eggplant were adopted into Ukiyoe. In some cases, Seven Lucky Gods were divided as an individual, Daeheukchun and Sunoin were humorously depicted in the Otsue and Gotee. Hokusai, One of the most famous Ukiyoe painter, drew the Mack in details to describe the handling the bad dreams. While Jonggyu, which has been passed down from China, was widely accepted as a material of Ukiyoe, Otsue, Gotee, Tsunodaesa and Sominjanrae, by its strong character as a Charm, were not used as a material of paintings. Lastly, while Hiragiiwashi was barely seen in the Gotee, it can be found in some of the Ukiyoe and Otsue. Although the usage of materials were differ from the characteristic features, it’s hard to deny that Sewha and Munbae paintings have influenced in folk paintings sphere.

우키요에 풍속화에 나타난 집단주의 문화 표현연구

차서윤,노미선 한국기초조형학회 2018 기초조형학연구 Vol.19 No.1

The purpose of this study is to analyze the characteristics of Japanese collectivist culture through Hofstede's comparative cultural dimension and to compare visual expression elements of 'Ukiyo-e' Respectively. The contents of the study are as follows. In chapter 2, we examine Hofstede's individualistic culture and collectivist culture as a methodology for comparing cultures of different countries through theoretical considerations and previous studies. Chapter 3 Analyzes the collectivistic cultural characteristics of modern Japanese according to collectivistic cultural variables, and analyzes the characteristics and associations of collectivistic cultures in the urban culture of Edo period and draws out the factors. Chapter 4 examined the background of the formation of the commoner culture and Ukiyoe that grew up in the background of urban culture due to the rapid development of commerce and industry in the Edo period. The particularity of Edo culture and the culture of collectivism And visual and symbolic expressive elements expressed in Ukiyo-e's work, and analyzed the relation with collectivist culture. Chapter 5, the Edo culture the collective culture the cultures of the linkage, 'Ukiyo-e' the symbolic elements of the Visual elements and expressed in the analysis and research on associativity of the collective culture. The events of human activity in the modern age Ukiyo-e records the culture of the time, which is the history of society and culture of the time, including the tradition and consciousness of the people. Through formative characteristics such as Ukiyo-e works are represented in the collective attention of the distinctive culture of the Edo period Hofstede's 'Japan is akin to a collective cultural' results. In addition, the culture is a continuation of the Edo era that formed the prototype of Japanese culture on a continuous line connecting past and present We analyzed the characteristics of Japanese collectivist culture through Ukiyo-e, which is the whole of life and traditional culture. Based on this research in future, we will further deepen the culture of Korea and Japan I want to analyze and analyze the direction of traditional design. 본 논문은 홉스테드(Hofstede)의 비교문화차원을 통하여 일본 집단주의 문화의 특성을 분석하고 에도시대 집단주의 문화와 연관된 ‘우키요에’의 시각적인 표현 요소를 도출하고 연구하였다. 연구 내용은 다음과 같다. 2장의 이론적 고찰과 선행연구를 통하여 국가 별 문화를 비교하기 위한 방법론으로 홉스테드의 개인주의 문화와 집단주의 문화를 고찰하였다. 3장 집단주의 문화변수에 따른 현대 일본인의 집단주의 문화적 특성을 파악하고 에도시대 도시문화 속에 담긴 집단주의 문화의 특징과 연관성을 분석하고 요소를 도출하였다. 4장은 에도시대 급속한 상공업 발전으로 인한 도시문화를 배경으로 성장한 서민문화와 우키요에의 형성배경을 고찰하였다. 5장 에도 문화가 지닌 특수성과 집단주의 문화와의 연계성, 우키요에 작품 속에 표현된 시각적상징적 표현요소를 도출하여 집단주의 문화와의 연관성을 분석하였다. 근대화 시대 인간 활동의 사건들을 회화적 주제의식으로 풀어 낸 우키요에는 당시의 사회와 문화의 산 역사가 되어 민족의 전통과 의식이 포함된 그 시대의 문화를 기록하고 있다. 이와 같은 조형적 특성을 통하여 우키요에 작품 속에 표현된 에도시대 특유의 집단주의 문화는 홉스테드의 ‘일본은 집단주의 문화에 가깝다’는 결과를 확인하였다. 또한 문화는 과거와 현재를 잇는 연속선상으로 일본문화의 원형을 형성한 에도시대의 생활상, 전통문화가 녹아있는 문화의 총체인 우키요에를 통하여 일본 집단주의 문화의 특성을 분석하였다. 향후 본 연구를 토대로 한국과 일본의 문화를 추가적으로 보다 깊이 있게 비교분석하고 전통디자인의 나아갈 방향을 모색하고자 한다.

쓰타주의 우키요에 미인화와 야쿠샤에 출판에 대한 일고찰

이미림(Ryee, Mi Lim) 동아시아일본학회 2015 일본문화연구 Vol.0 No.56

우키요에시로서 처음으로 유럽에 이름을 알린 것은 우타마로로 공쿠르 『18세기 일본의 화가』에 의해서였다. 두 번째는 쿠르트 『SHARAKU』이였다. 이는 두 화가를 발굴하고 기리 기억에 남을 작품을 기획 출판한 출판인 쓰타주가 있었기에 가능했던 일이다. 1772∼1801년에 이르는 기간 중 쓰타주의 기획 하에 제작된 우타마로와 샤라쿠의 대표작을 중심으로 우키요에의 성립의 메카니즘과 함께 에도시대 서민문화의 일면을 파악하였다. 우타마로는 쓰타주의 전속 화가처럼 거의 모든 작품 제작에 참여하여 치밀한 묘사가 돋보이는 작품을 제작하였다. 뿐 만 아니라 미인의 상반신에 주목한 오쿠비에의 창안하여 우키요에 황금기를 이루었다. 샤라쿠도 쓰타주와 만나기 이전, 화가로서의 행적을 알 수 없는 수수께끼 화가이다. 최근 연구에 의하면, 아와구니에서 노 배우로 활동했다고 하지만 의문점이 남는다. 그가 남긴 야쿠샤에 표현은 일본 회화사에서도 전무후무한 대담한 데포르메로 매우 강한 개성을 표출하고 있다. 본고에서는 두 화가의 작품의 표현을 길러낸 배경으로 에도 서민문화와 작품의 출판 기획한 출자자 쓰타주의 존재를 고찰하였다. This thesis focuses on Tsutaju as the publisher of the most representative publication of popular culture of the Edo period. He was the local wholesaler who received the most national attention for about 20 years during the Edo period. He published many color prints. The study of his origin, such as his family tree and his parents, has not been carried out sufficiently until now. This thesis is about his origin based on several materials to fill in the missing parts. Moreover, it looks into one aspect of the culture of the Edo period, along with the establishment of Ukiyoe by Utamaro and Sharaku, which was produced under the supervision of Tsutaju between 1772 and 1801. The painter Utamaro encountered Tsutaju, and then worked exclusively for him, taking part in most of his works. They produced the most cautiously described pieces of work like 『靑樓人和嘉女藝者部』, one of the representative paintings of Ukiyoe. Before Sharaku met Tsutaju, he was an unknown painter of Ukiyoe. Sharaku’s paintings of actors were co-produced with Tsutaju, and their forceful characteristics became the unprecedented deformation of boldness in the history of Japanese painting. This thesis sheds new light on Tsutaju as an investor who not only contributed to the development of the expression of Utamaro and Sharaku, but also to the maturity of popular culture of the Edo period.

<膝栗毛もの>を描いた浮世絵師たち -芳艶・芳員・国周・重政を中心に-

康志賢 한국일본언어문화학회 2021 일본언어문화 Vol.57 No.-

As the Ukiyo-e artist who drew “Hizakurige-Group” can understand at a glance, from the total of 76 types of 【Chart 1】 created in chronological order, in this paper, I investigated Yosichuya who drew ⑬ and whose publisher and production year are not clear. Then, I picked up the works of three painters, Yosikazu’s painting Ⓕ, Kunichika’s painting ⓛ, and Sigemasa’s painting Ⓛ and Ⓜ, which are Ukiyo-e “Hizakurige-Group” that I didn’t notice in my manuscript. As a result it was revealed that, regarding the “Tokaidochu-hizakurige” series by Yosichuya painting, the production period is from January 1848 to around September 1850, and the publisher is the publisher of the “ヲ:wo” trademark in the star shape and Ootaya-takichi. Next, as “Hizakurige-Group” Ukiyoe, (1) Yosikazu painting “Mariko /Fujieda”, (2) Kunichika painting “Yokkaichi”, (3) Sigemasa painting “Kanagawa daino-chyaya /Hodogaya”, “Tochukanosakamichi / Fuzisawa”, “Kuwわからなかったana / miya” and “Hizakurige-kokkei-chuziuranai” was newly introduced.

한일 풍속화 이벤트 전시를 통한 문화관광 교류 활성화 고찰

강준수 한국이벤트컨벤션학회 2022 이벤트 컨벤션 연구 Vol.18 No.2

Purpose – The purpose of this study is to discuss ways to expand cultural tourism exchanges as well as improve the rigid relationship between the two countries by using Korean genre painting and Japanese Ukiyoe. Design, data, and methodology – Unlike traditional art enjoyed by the elite, Korean-Japanese genre painting has in common that it is a culture led by the common people. Based on these common points, this study intends to explore ways to utilize the fun, play culture, and value that Korean and Japanese genre painting can provide to modern people through event exhibition experience. Result – Korean-Japanese genre painting can provide emotional stability to modern people suffering from mental stress through elements of humor and satire. The event exhibition experience can materialize the value as a tourism product while providing a variety of experience programs to visitors by utilizing the function of genre painting. Conclusions –The purpose of this study is to discuss ways to expand cultural tourism exchanges as well as improve the rigid relationship between the two countries by using Korean genre painting and Japanese Ukiyoe.

에도시대 우키요에(浮世繪)에 나타난 유녀(遊女)의 머리형태에 관한 고찰

박옥련(Ok-Lyun Park) 한국인체미용예술학회 2011 한국인체미용예술학회지 Vol.12 No.4

Prostitutes could lead the trends because they had less social restraints in making new attempts than other public or women in the aristocracy. Ukiyo-e(Japanese woodblock prints) drawing the prostitutes realistically described clothing, makeup or head shapes so that it played the roles like the current fashion magazines for the public at that time. Accordingly, new hair shapes in accordance with the lapse of time were identified by analyzing the hair shapes in Ukiyo-e. Hair shapes might be changed because of different social atmosphere depending on the time. The public had the economic richness by the development of monetary economy in the mid-Edo period. Then, the hair styles became complicated and decorative as compared to the early days of Edo period. The hair styles showed the attempt to escape from the skillful and showy styles in the mid-Edo period in the late Edo period. Thus, the hair style returned to the natural style. In terms of the types, three hair styles, Hyogo-mage, Shimada-mage and Katsuyama-mage, were found. Even the same style was slightly different depending on the social atmosphere by period. In particular, the exaggerated hair style using Torobin which was frequently used for hair styles of courtesans since mid-Edo period emphasized the feminine beauty in Edo period. Such trend was also observed in Torobin Katsuyama-mage, a type of Katsuyama, and Torobin Yoko-hyogo, a type of Hyogo.