동아시아에 전래된 서양화법의 원류와 양상 = 기독교 주제의 작품을 중심으로

다국어 초록 (Multilingual Abstract)

Catholic and Western art reached East Asia with the expansion of trade by Spanish and Portuguese merchants and the activities of Jesuit missionaries in the region. Western art first reached Japan, during the late Muromachi period(1338~1573). Oil paintings and copperplate prints brought into the country by Westerners were copied using Japanese materials and painting techniques, or reproduced in the form of woodblock prints.
Records indicate that a considerable number of works produced using such new techniques were sold overseas or sent abroad as gifts from Japan and China. In Japan, in particular, works featuring Western motifs were mounted on folding screens and sent as gifts to influential figures overseas; several examples survive today. Works featuring Christian motifs, popular among Westerners, were also sometimes produced and attracted the attention of Westerners thanks to their exotic nature.
Previously, little was known about the subject matter of these items once they arrived overseas, but the recent revelation of a number of works has attracted new attention. The aim of this study is to use these works as a basis for tracing the roots of motifs and expression in Western-influenced works, and to re-examine their origins.
Jacob Niwa(1579~1638)’s painting of Jesus Christ holding a globe, symbolizing his status as ruler of the universe, was based on a copperplate print by Marten de Vos(1531~1603). This motif, known “Salvator Mundi,”(“savior of the world”) is frequently found in 14th and 15th-century works. Christ’s right hand, bestowing blessings, symbolizes God’s mercy, while the orb in his left hand represents the Earth and the cross above it stands for victory over all creation.
The 14th~15th century prayer book Book of Hours has been cited as the source of La Passion du Christ, a book of engravings by Anton Wierix based on paintings by de Vos. This is a reference to the abundant flower and animal images used decoratively around the pictures themselves; such images were taken from contemporary illustrated guides to flora and fauna and are characterized by their elaborate accuracy and realism. Similar images are found in numerous copperplate prints produced by the Wierix publishing house in the 16th and 17th centuries.
One example of a Chinese folding screen is the coromandel lacquer piece in the collection of the Fundação Oriente Museu in Lisbon, Portugal. This work features multiple motifs from the life of Christ, while showing a combination of Western and Chinese-style techniques. Thought to have been produced in Macau, it is valuable for its rarity: few examples of Western motifs rendered in lacquer through a combination of Eastern and Western techniques survive.
Meanwhile, a large folding screen in the collection of the Museo Soumaya in Mexico City depicts the great flood from the story of Noah. The lack of other works depicting this event using such diverse means of expression makes this a remarkable screen. It appears to have been produced as a gift to be sent overseas. The screen shows both Chinese and Japanese stylistic elements, prompting the assumption that it was initially produced in China, then sent abroad, before entering Japan, being repaired, then sold abroad once again. Such examples are interesting in that they illustrate the way in which screens produced in China or Japan found their way abroad, and display a mixture of Eastern and Western artistic techniques.

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 서양의 기독교 주제 동판화
• Ⅲ. 중국의 기독교 說話圖 병풍
• Ⅳ. 중국 제작과 일본 수리의 大洪水圖 병풍
• Ⅴ. 맺음말
• 참고문헌
• 〈Abstract〉