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About the price of painting and economic environment in the Edo period.

  • 日本硏究
  • 2013, (34), pp.301-323
  • Publisher : The Center for Japanese Studies
  • Research Area : Humanities > Japanese Language and Literature
  • Published : February 20, 2013

milim Lee 1

1성결대학교

Accredited

ABSTRACT

As building connections between paintings and economic environment have begun to emerge, a variety of matters related to the value of paintings becomes open to question, especially in the case of famous artists. When we look at the Japanese Modern Art from an economic perspective, it is questionable if the value of painter's work is based on its original value of the painting or some sort of his or her social status or reputation. Moreover, in the Kang-Ho period it is open to question if the price of a famous artist's painting guarantees the quality of the painting or the quality of painting guarantees the painter's economic success. Needless to say, any conflict between these correlations could be the case quite a few. Unlike to a bottom painter or a civil painter, the painter who worked for 'Ukiyoe' as his or her karma lived a life of many hardships and the price of painting was too low to be compared. Besides, the value of 'Ukiyoe' was lower than a piece of drawing since it was replication of art. In addition, considering the number of the 'Ukiyoe' artists that is as many as the sand of the sea, they had to appeal to a master painter and make their paintings attractive enough to ring the heartstrings of a master. Thus 'Ukiyoe' had to face the reality and express the sense of reality that came from people living in the real world. 'Ukiyoe', however, has not been considered as art till the late Edo period. Although the artistic value of the painting was not lower than the value of a court painter's or a civil one's, 'Ukiyoe' of Utagawa school(歌川派) including Hirosige(廣重) or Hokusai(北齋) could be easily purchased and appreciated at the price of a bowl of udong by anyone. 'Ukiyoe' is one of the art genre which has its significance in the sense of beauty and technique. 'Ukiyoe', however, was widely considered vulgar and civil art due to its biased view which derived from class consciousness in the Kan-Ho period.

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