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샤오츙레이(蕭瓊瑞),문정희(옮김) 한국미술연구소 2016 美術史論壇 Vol.- No.42
Taiwan’s Eight Views, the poem’s title, appeared in Taiwan Prefecture Gazetteer(台灣府志, 1696) edited by Gao, Hongqian (高拱乾) under Qing Dynasty rule, for the first time. The Taiwan’s Eight Views has been compiled in different versions according to the compilations of Taiwan’s Fuji, and also, it has been published with poems and paintings by being combined with other varied “eight landscapes”. The eight landscapes indicate “overpass of Anping(安平晚渡)”, “glow of Shakun (沙鯤漁火)”, “spring of Luyi(鹿耳春潮)”, “snowing of Jilong(雞籠積雪)”, “dawn of East(東溟曉日)”, “mist of West island(西嶼落霞)”, “see sea on pavilion(澄台觀海)”, and “listening to the waves of Feiting pavilion(斐亭聽濤)”. The eight areas selected as the eight landscapes show both the equal division and the regional arrangement to all the directions of North, South, East and West over Taiwan. Also, the areas display the harmonious relations of the seasonal characteristic with excellent scenery and the change between morning and evening. The natural scenery and human, which are represented in the painting of Taiwan’s Eight Views, come into view, as being harmonized with actual fact at the time. The expression in a record, such as “snowing of Jilong(雞籠積雪)”, displays misunderstanding and exaggeration in fact and representation, but at least, it can be said as an unique feature that is shown through humanistic appreciation and literary imagination. The formation of the “Taiwan’s Eight Landscapes” under Qing Dynasty rule, later, represents Taiwan’s historical meaning, significance, and humanistic politics and economics. Also, throughout the ancient history of China expressed in the eight landscapes, the painting’s eographical meaning –that is, the fact that particular landscapes of Taiwan were selected– has a characteristic of the marine culture, compared to islands and China. In fact, seeing it from the view of Qing Dynasty, it seems that selecting the particular areas called Eight Landscapes is a proclamation of the unified Taiwan toward the outside. In other words, selecting and determining the eight landscapes were, for the ruler of Qing Dynasty, the way of declaring the fact that Taiwan was a territory in governed territory. In such way, the characteristics and identity of Taiwan come to reflect the recognition that are shared by both the immigrants from China to Taiwan and the officials dispatched by the government.
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오사키 신이치로(尾崎信一郞),문정희(옮김) 한국미술연구소 2013 美術史論壇 Vol.- No.37
The main subject of this study is postwar abstract art in Japan, with a focus on paintings in particular. Abstract paintings began to arise in Japan in the 1910s, but became subjected to severe persecution during World War Ⅱ. Afterward, paintings in the realist vein that portrayed repentance over the war and contemporary political struggles came to form the mainstream in postwar Japan. However, an internationally acclaimed group of abstract artists rose to prominence in Japan in the mid-1950s. The group, known as the Gutai Art Association, consisted of Jiro Yoshihara, a pioneering figure of abstract painting in Japan, and his young followers. The group produced numerous innovative works and exhibitions in its early days, including outdoor exhibitions and dynamic action paintings on stages. Although the members of the Guatai group have made significant progress in terms of their mission to revolutionize abstract art, they have not been given due attention in the discourses up to date on modernist paintings. The Gutai painters sought to transform paintings from copies and emulations of objects into traces of objects, and came to share quite a sophisticated and advanced aesthetic akin to that of the minimal art in the 1960s that went over the boundaries of abstract expressionism. This significant achievement, however, failed to garner proper appreciation from contemporary critics, and eventually came to be forgotten as no subsequent generations of artists inherited it. After a period of full interruption and oblivion throughout the 1960s, Japanese abstract art began to surface again in the 1970s, thanks to the Monoha painters and other artists of the 1980s that had inherited the formalist tradition. These later generations of abstract painters, however, sought to continue the works of only certain individual artists, without making in-depth efforts to situate their style and tradition against the backdrop of a consistent context. In other words, abstract paintings reached a groundbreaking moment in the 1950s, only to come to an abrupt end afterward. It is this interruption that, more than anything else, defines abstract art and its evolutions in Japan.
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