컬렉션, 시장, 취향: 이왕가미술관 일본근대미술컬렉션 재고 = Collections, Market, and Taste: Reflections on Japanese Modern Art Collection of Yi Royal Family

다국어 초록 (Multilingual Abstract)

The creation of an art collection is affected by a number of factors such as political and economic power, aesthetic value, and art market, etc. Many have pointed to the association of the Modern Japanese art collections of the Yi Royal Family Art Museum with power, imperialism, and colonization. This article aims to reflect on the Modern Japanese Art Collections at the Yi Royal Family Museum of Art from the perspective of their relationship with the contemporary art market.
Japan tried to establish its first modern art museum in Seokjojeon which is located in Duksu-gung Palace, one of the palaces of Joseon Dynasty. The fundamental reason why Japanese did not exhibit the art works of Joseon but the ones of Japanese artists was to enlighten the colonial Joseon of the sophisticated Japanese modern art. The other reason was that they needed a modern art museum to show their rich cultural heritage of Japan to visitors or foreigners, as there wasn’t any yet until 1940s. However, at the outset, the Museum of Art lacked exhibits to fill its empty walls. Thus, most of the exhibits were lent from Japan to be put on display for a specified period of time, and some of them were purchased by the Yi Royal Family Office and Prince Yi Eun himself. However, the influx of modern Japanese art collections into Joseon in such a massive scale was unprecedented. More importantly, an amount equivalent to half of what the Yi Royal Family Museum at Changgyeonggung Palace spent annually to purchase artwork, mainly ancient works of Joseon, was spent on purchasing modern Japanese pieces. This attests to the fact that the House of Yi was focused on expanding the modern Japanese art collections.
Therefore, it is an oversimplification to claim that the Modern Japanese art exhibition was designed solely for the development of the contemporary Joseon art scene. The imported pieces did not just help to stage the Exhibition at Seokjojeon, but they also led to the increase in solo exhibitions of Japanese artists and the sales of their works within Joseon. While some Joseon artists
acknowledged that Japanese art could not but occupy the center stage in such a dynamic, others responded by striving to build the identity of Joseon art through delving into the issue of creativity and imitation and studying antique Joseon art pieces exhibited next to modern Japanese art. They also placed a focus on increasing the exhibitions of contemporary artists in Joseon and the sales of their works. In short, the Modern Japanese art exhibition was the epicenter of the struggle of the Joseon art world to survive and to search for its identity through recognizing and defying Japan's influence and finding creativity through imitation throughout the 1930s and 1940s.

목차 (Table of Contents)

• Ⅰ. 일본근대미술품의 이동
• Ⅱ. 쇼와 전기(昭和 前期, 1926~1945) 일본근대미술품의 상품화와 컬렉션의 형성
• Ⅲ. 『덕수궁일본근대미술품대장』 을 통해 본 구입 성격
• Ⅳ. 봉합된 아시아 미술관의 틈: 경성의 동시대 미술시장

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