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The Japanese western art in the 1910’s and the Joseon - Focus on Yuasa Ichirou, Hujisima Takeji -

KIM JUNGSEON 1

1동아대학교

Accredited

ABSTRACT

The study’s purpose to investigate the problem of “representation,” how modern Japanese paintings represented colonial Korea beyond existing colonialism and in the formation process of Japanese western art in the 1910’s. Departing from the traditional discourse of colonialism based on binary opposition, the study attempts to verify that the Joseon-related works of Yuasa Ichirou and Hujisima Takeji, who visited Joseon in 1913, closely relate to the then Japanese western art. To achieve this, the study first investigated previous discourses focusing on Japanese painters’ travel essays in the 1910’s. Additionally, the study separately researched their interest in Joseon, focusing on the situation around 1913, the confrontation between old and new Japanese western art. It is demonstrated that Yuasa Ichirou and Hujisima Takeji, who had visited around that time, opposed the governmental art exhibitions’ academism and were encouraged by the colony experience to find potential new modes of expression. Moreover, their work began to change with their trip to Joseon. Although it is difficult to deny that the new bright colors, powerful touches, simplification of objects, and nonobjective trends correspond to the then Japanese discriminative Joseon image, they do establish a link between Joseon and bright colors or antiquity. Thus, the fact that Joseon (the other) provided an important place for forming modern Japanese art must be reevaluated.

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