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강희정(姜熺靜) 한국미술연구소 2009 美術史論壇 Vol.- No.28
The first illustrated art catalogues in Japan, the Selected Relics of Japanese Art(Shinbi Taikan, 『眞美大觀』) was published from 1899. Until 1908, the publisher Shimbi shoin(審美書院) had completed all 20 books in the set. This set of the illustrated art catalogues can be highly valued as the first publication in Japan, which had established the foundation of Japanese art history during the Meiji(明治) period. These series presented almost every significant art works from the earliest times to the end of the Tokugawa(德川) period. The publisher said in the introductory remarks that they collected the important art relics from the Buddhist temples in Nara(奈良) and Kyoto (京都) and the private collections. All the books which bound Japanese style, have two types of plates, the foldout collotype plates on thick paper and the non-foldout collotype plates on thin woven paper folded over a sheet of thicker backing paper. And each plates are protected by a very thin paper like a tissue on which is printed the description and explanation on the plate in Japanese and English. The pictures in the books were photographed and collotyped by Ogawa Kazumasa(小川一眞) who participated in 'the survey and investigation of treasures in Ginki province(近畿寶物調査)' from 1888 with Ernest E. Fenollosa and Okakura Tenshin(罔倉天心). The photographs that Ogawa had taken during those periods were used several times in the publications including the Selected Relics of Japanese Art and the Histoire de l'Art du Japon. The publications with the collotyped photographs of Ogawa show us the first photographic reproduction of cultural property and the visual popularization through those photographs. From the Meiji period, the Japanese bureaucrats and intellectuals who served the government thought that the Buddhism and its art were equal to the Christianism. Therefore they argued the most important culture in Asia was the Japanese Buddhist art which the Japanese had preserved for a long time. In this point of view, the editors of the series, the Selected Relics of Japanese Art, chose the image of the Shakya(釋迦) triad in Kondo(金堂) of Horyuji(法隆寺) as the first plate in the book, volume one. Whether the art works could be a model for the artists was the only significant standard for the selection of the art works for the books. And the editorial boards regarded the ancient ones as the classic, which could be worth while for the scholars to investigate. Shimbishoin informed that the Selected Relics of Japanese Art was awarded the Gold Prize for printing in the 1900 Paris World Exposition. The series, which were the first illustrated art catalogues that fitted with the policy of the Meiji government, were the publication that opened the beginning of reproduction and distribution of cultural assets by photographs. Also the series projected by semi-governmental management were a visual embodiment of the Japanese art history constructed in the Meiji period.
강희 한국현대영미소설학회 1997 현대영미소설 Vol.4 No.2
Focusing on the human sexuality of the two writers' masterpieces, this study traces not just the various complex dynamics of heterosexual relationships but sexual differences between man and woman. Looking closely into both (male and female) writers' narratives, it also attempts to examine the similarities as well as differences in their gendered writings, what they share in common and do not share, or even "universal" qualities, in their configurations of human sexuality. Do both writings move beyond the traditional dichotomy of heterosexuality, thus suggesting a new and better sexual relationship? Most of all, what kinds of differential effects does each writer have in their sexual discourse due to their gender? Indeed, these are the main issues in this paper. While reading the "memorable battle-fields" between the two sexes in both texts, one of the most definite characteristics in their gendered writings is the issue of sexual subjectivity. That is, while in the male writer's text its sexual subject is man, in the female writer's text, woman. Nevertheless this rather obvious factor will be the determining force for the sexual configuration of each text and various sexual dynamics and rhythms in heterosexual relationships. One of the elements Lessing's feminine writing departs radically from Lawrence's masculine writing is that she positively asserts in her work that woman has different sexual subjectivity from man.