The collection and exhibition of Joseon Dynasty paintings in modern
| Project/Area Number |
16K02290
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Multi-year Fund |
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| Section | 一般 |
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| Research Field |
Fine art history
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| Research Institution | Kyushu Sangyo University |
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Principal Investigator |
WATANABE YUJI 九州産業大学, 芸術学部, 教授 (20590441)
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| Project Period (FY) |
2016-04-01 – 2019-03-31
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| Project Status |
Completed (Fiscal Year 2018)
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| Budget Amount *help |
¥2,470,000 (Direct Cost: ¥1,900,000、Indirect Cost: ¥570,000)
Fiscal Year 2018: ¥1,040,000 (Direct Cost: ¥800,000、Indirect Cost: ¥240,000)
Fiscal Year 2017: ¥780,000 (Direct Cost: ¥600,000、Indirect Cost: ¥180,000)
Fiscal Year 2016: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
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| Keywords | 李王家博物館 / 朝鮮総督府博物館 / 関野貞 / 近代美術市場 / 朝鮮美術館 / 朝鮮名画展覧会 / 京城美術倶楽部 / 近代植民地美術 / 朝鮮時代絵画 / 近代美術所蔵家 / 呉鳳彬 / 植民地期朝鮮 / 近代博物館 / 朝鮮総督府 / 李王家 |
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| Outline of Final Research Achievements |
Along with the theme of how Japan was interested and understood Joseon Dynasty paintings in modern times, the survey was conducted collecting and exhibitions of paintings through public facilities and private sector in colonial Korea. This involves examining the creation of a new value of ‘art’ from a point of view in modern Korea, which has been confirmed by the collection and exhibition activities of the museum in colonial Korea. Also, in the private sector, collection activities were initially active mainly among Japanese, and the art market was gradually opened with the addition of Koreans. However, in terms of the understanding of Korean traditional paintings, researchers who participated in them were only a few characters, including Sekino Tadashi, and they did not fully understand the painting activities of Joseon Dynasty.
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| Academic Significance and Societal Importance of the Research Achievements |
近代における韓国の伝統的美術品とくに絵画の収集・展示についての考察は数少ない。東京文化財研究所の関野貞関係資料をもとに、日本人による韓国の伝統絵画の理解について研究した。具体的には日本による植民地朝鮮での博物館建設、そこでの収集展示活動、民間での収集活動を検討した。こうした活動から朝鮮時代絵画は日本の統治政策を背景に近代における美術としての位置づけを得たものの、本来の朝鮮時代士大夫による文芸活動から離れた資料となった。これらの検討から近代において、日本は植民地朝鮮の伝統的絵画について、博物館で収集や展示を行ったが、理解は限られた研究者によるもので、価値観は日本の美術観を当てはめたものであった。
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Report
(4 results)
Research Products
(13 results)
