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      수출된 일본의 이미지 ─ 막부 말기 메이지의 요코하마와 미국 = The Exported Japanese Images: From Yokohama to the United States in the Late 19th Century

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      https://www.riss.kr/link?id=A104573691

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      다국어 초록 (Multilingual Abstract)

      Japan put an end to their seclusion policy by concluding the Convention of Peace and Amity between the United States of America and the Empire of Japan in 1854. Accordingly, at the first year of Meiji era (1868), the five ports in Japan had been opened to the foreign countries; which were Yokohama, Hakodate, Kobe, Nagasaki and Niigata. This paper is focusing on “Yokohama Shashin”, the photographs that had brought back to the United States from Yokohama in the late 19th century.
      “Yokohama Shashin” refers to the commercial photographs shot as souvenirs for the tourist or the foreign residents of the Yokohama settlement in Japan. Its motif was “Old Japan”, the pre-modern images as well as the foreigners’ expected “authentic” Japanese sceneries. They bought “Yokohama Shashin” to confirm and memorize these images. It is said that Felice Beato and Shimooka Renjo have inaugurated this “Yokohama Shashin”.
      Charles Appleton Longfellow(1844-1893), son of the famous American poet, stayed in Japan from 1871 to 1873 and brought home over 350 photographs including his own and his mistresses’ portraits most probably shot by Beato. The poses of mistresses were mimicking Japanese women seen in “Yokohama Shashin”, and his portrait in kimono is identical to that of “Yokohama-e”, the portrait-paintings of foreigners visiting Yokohama depicted by Japanese painters in those days. The faces drawn in “Yokohama-e” had applied foreigners’ images from their own photographs; and at all times the figures were in kimono. “Yokohama-e” was a souvenir for foreigners in the same way as “Yokohama Shashin”. The Photographs Charles brought home from Japan present his idealized viewpoint toward Japanese women, and his self-consciously created image of exotic “Good Old Japan”.
      John La Farge (1853-1910), an American painter, visited Japan with his historian friend, Henry Adams, in 1886. His essays with his own illustrations were appeared as “An Artist’s Letters from Japan” in Century Magazine from 1890 to 1893. Some of his illustrations were directly based on “Yokohama shashin”. La Farge worked on watercolor illustrations after returning to the United States with referring to the commercial photographs he brought back, as if he painted them from his own sketches drawn in Japan. Therefore, it is possible to say that his perspectives on Japan were depended heavily on from the images of “Old Japan”, which he believed to be “authentic”. This paper aims to reveal the Japanese images in the United States around the late 19th century by analyzing these examples.
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      Japan put an end to their seclusion policy by concluding the Convention of Peace and Amity between the United States of America and the Empire of Japan in 1854. Accordingly, at the first year of Meiji era (1868), the five ports in Japan had been opene...

      Japan put an end to their seclusion policy by concluding the Convention of Peace and Amity between the United States of America and the Empire of Japan in 1854. Accordingly, at the first year of Meiji era (1868), the five ports in Japan had been opened to the foreign countries; which were Yokohama, Hakodate, Kobe, Nagasaki and Niigata. This paper is focusing on “Yokohama Shashin”, the photographs that had brought back to the United States from Yokohama in the late 19th century.
      “Yokohama Shashin” refers to the commercial photographs shot as souvenirs for the tourist or the foreign residents of the Yokohama settlement in Japan. Its motif was “Old Japan”, the pre-modern images as well as the foreigners’ expected “authentic” Japanese sceneries. They bought “Yokohama Shashin” to confirm and memorize these images. It is said that Felice Beato and Shimooka Renjo have inaugurated this “Yokohama Shashin”.
      Charles Appleton Longfellow(1844-1893), son of the famous American poet, stayed in Japan from 1871 to 1873 and brought home over 350 photographs including his own and his mistresses’ portraits most probably shot by Beato. The poses of mistresses were mimicking Japanese women seen in “Yokohama Shashin”, and his portrait in kimono is identical to that of “Yokohama-e”, the portrait-paintings of foreigners visiting Yokohama depicted by Japanese painters in those days. The faces drawn in “Yokohama-e” had applied foreigners’ images from their own photographs; and at all times the figures were in kimono. “Yokohama-e” was a souvenir for foreigners in the same way as “Yokohama Shashin”. The Photographs Charles brought home from Japan present his idealized viewpoint toward Japanese women, and his self-consciously created image of exotic “Good Old Japan”.
      John La Farge (1853-1910), an American painter, visited Japan with his historian friend, Henry Adams, in 1886. His essays with his own illustrations were appeared as “An Artist’s Letters from Japan” in Century Magazine from 1890 to 1893. Some of his illustrations were directly based on “Yokohama shashin”. La Farge worked on watercolor illustrations after returning to the United States with referring to the commercial photographs he brought back, as if he painted them from his own sketches drawn in Japan. Therefore, it is possible to say that his perspectives on Japan were depended heavily on from the images of “Old Japan”, which he believed to be “authentic”. This paper aims to reveal the Japanese images in the United States around the late 19th century by analyzing these examples.

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      참고문헌 (Reference)

      1 岡部昌幸, "飴賣りの背景―ブルームとワーグマンの作品に關する考察" (494) : 1988

      2 ジョン·アーリ, "觀光のまなざしー現代社會におけるレジャーと旅行" 法政大學出 1995

      3 金子隆一, "色彩から歷史を讀むーモノに潛む表現· 技術·認識" ダイヤモンド社 1999

      4 岡倉天心, "繪畵における近代の問題" 2 : 1980

      5 ジョン·ラファージ, "畵家東遊錄" 中央公論美術出版 1981

      6 靑木茂, "油繪初學" 油繪初學 1987

      7 岡倉天心, "東洋の理想" 講談社 1992

      8 岡部昌幸, "朝日美術館テーマ編2 寫眞と繪畵" 朝日新聞社 1996

      9 平木政次, "明治初期洋畵壇回顧" 日本エッチング硏究所出版部 1936

      10 橫田洋一, "明治の橫 浜·東京" を刊行する會 1989

      1 岡部昌幸, "飴賣りの背景―ブルームとワーグマンの作品に關する考察" (494) : 1988

      2 ジョン·アーリ, "觀光のまなざしー現代社會におけるレジャーと旅行" 法政大學出 1995

      3 金子隆一, "色彩から歷史を讀むーモノに潛む表現· 技術·認識" ダイヤモンド社 1999

      4 岡倉天心, "繪畵における近代の問題" 2 : 1980

      5 ジョン·ラファージ, "畵家東遊錄" 中央公論美術出版 1981

      6 靑木茂, "油繪初學" 油繪初學 1987

      7 岡倉天心, "東洋の理想" 講談社 1992

      8 岡部昌幸, "朝日美術館テーマ編2 寫眞と繪畵" 朝日新聞社 1996

      9 平木政次, "明治初期洋畵壇回顧" 日本エッチング硏究所出版部 1936

      10 橫田洋一, "明治の橫 浜·東京" を刊行する會 1989

      11 橫浜開港資料館, "明治の世界 ― 《橫浜寫眞》の世界 彩色アルバム" 有隣堂 2003

      12 橫浜都市發展記念館, "文明開化期の橫浜·東京―古寫眞でみる風景―" 有隣堂 2007

      13 齋藤多喜夫, "幕末明治 橫浜寫眞館物語" 吉川弘文館 2004

      14 "幕末·明治の橫浜展" 橫浜美術館 2000

      15 小澤健志, "幕末·明治の寫眞" 筑摩書房 1997

      16 石黑敬章, "幕末·明治のおもしろ寫眞" 平凡社 1996

      17 木下直之, "寫眞畵論 ―寫眞と繪畵の結婚" 岩波書店 1996

      18 "五姓田のすべてー近代繪畵への架け橋" 神奈川縣立歷史博物館 2008

      19 チャールズ·A·ロングフェロー, "ロングフェロー日本滯在記" 平凡社 2004

      20 佐藤守弘, "トポグラフィの日本近代 江戶泥繪·橫浜寫眞·芸術寫眞" 靑弓社 2011

      21 ジョセフ·M·ヘニング, "アメリカ文化の日本体驗 人種·宗敎·文明と形成期米日關 係" みすず書房 2005

      22 金子隆一, "〈橫浜寫眞〉の位置" (3) : 2004

      23 James L, "Yarnall, Recreation and Idleness : The Pacific Travels of John La Farge" Vance Jordan Fine Art Inc 1998

      24 Kakuzo Okakura, "The Ideals of the East with Special Reference to the Art of Japan" John Murray 1903

      25 James L. Yarnall, "New Insights on John La Farge and Photography" 19 : 1987

      26 Christine M. E. Guth, "Longfellow’s Tattoos : Tourism, Collecting, and Japan" University of Washington Press 2004

      27 James L. Yarnall, "John La Farge’s Portrait of the Painter and the Use of Photography in His Work" 18 (18): 1986

      28 Edwin Arnold, "Japonica" Charles Scribner’s Sons 1891

      29 橫浜開港資料館, "F.ベアト寫眞集2ー外國人カメラマンが撮った幕末日本" 明石書店 2006

      30 橫浜開港資料館, "F.ベアト寫眞集1ー幕末日本の風景と人びと" 明石書店 2006

      31 Julia Meech-Pekarik, "Early Collectors of Japanese Prints and The Metropolitan Museum of Art" 17 : 1984

      32 John La Farge, "An Artist’s Letters from Japan" 39 (39): 1890

      33 Robert Blum, "An Artist in Japan" 13 (13): 1893

      34 Theodore Wores, "An American Artist in Japan" 38 : 1889

      35 David Weir, "American Orient" University of Massachusetts Press 2011

      36 John La Farge, "Across America and Asia" Leypoldt & Holt 1871

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      학술지 이력

      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2027 평가예정 재인증평가 신청대상 (재인증)
      2021-01-01 평가 등재학술지 유지 (재인증) KCI등재
      2018-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2015-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2011-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2009-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2008-01-24 학회명변경 한글명 : 한국근대미술사학회 -> 한국근현대미술사학회(구 한국근대미술사학회)
      영문명 : Institute Of Korean Modern Art Studies -> Association of Korean Modern & Contemporary Art History
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      2008-01-23 학술지명변경 한글명 : 한국근대미술사학 -> 한국근현대미술사학(구 한국근대미술사학)
      외국어명 : The Journal of Korean Art History -> Journal of Korean Modern & Contemporary Art History
      KCI등재
      2006-01-01 평가 등재학술지 선정 (등재후보2차) KCI등재
      2005-05-25 학술지명변경 외국어명 : 미등록 -> The Journal of Korean Art History KCI등재후보
      2005-05-24 학술지명변경 한글명 : 한국근대미술사학 제11집 -> 한국근대미술사학 KCI등재후보
      2005-01-01 평가 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2003-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      학술지 인용정보
      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.29 0.29 0.39
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.37 0.37 1.029 0.06
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