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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 제59호
- 발행연도
- 2024.12
- 수록면
- 31 - 53 (23page)
- DOI
- 10.14380/AHF.2024.59.31
이용수
초록· 키워드
오류제보하기
The representation of Korean art in historical literature on German art began in 1895 with Ernst Zimmermann’s Koreanische Kunst , introducing Eduard Meyer’s collection. However, aside from the publications of Adolf Fischer, Berta Gottsche, William Cohn, and Andreas Eckardt in the 1910s and 1920s, Korean art was not independently addressed until 1945. Typically, Korean art was briefly cited or succinctly defined in the context of explaining Chinese and Japanese art. The primary focus was its connections to Chinese art and ceramics, a domain highly regarded by the Japanese. German art historians often praised the sculptures of Seokguram not for their distinctive Korean aesthetic but as exemplary monuments of the Tang Dynasty’s Buddhist art. Korean art was received as an unoriginal echo of Chinese art. Similarly, while Goryeo celadon was sometimes deemed to achieve moments of perfection akin to that of Chinese porcelain, Korean ceramics were generally regarded as crude imitations of Chinese works, notwithstanding their admiration within the Japanese tea culture.
More importantly, the German art historical approach to Korean art was closely aligned with Japanese perspectives. Such resources as Japan’s East Asian art magazine Kokka , the antique art collection Shimbi Taikan , and government-published works (e.g., Chosen Kofun Hekigwa and Chosen Koseki Zufu ) were utilized as foundational references. This reliance suggests that the narrative in German art history mirrored Japanese scholarly research. Additionally, influential German art historians and museum professionals like Otto Kümmel and Ernst Grosse traveled to Japan, fostering intimate exchanges. This reality underscores the fact that access to Korean art was mediated through Japan. German art historians viewed Japanese-led excavations as opportunities to protect Korean cultural heritage and fill the gaps in East Asian art history, often justifying Japan’s colonial rule as a cultural endeavor.
In early 20th-century historical literature on German art, Korean art was framed as a shadow of grand Chinese art, thus denying it an independent identity. Furthermore, a common belief was that all artistic vitality in Korea disappeared following Toyotomi Hideyoshi’s invasions. Notably, while China was positioned as the creative origin and dominant center of East Asian art, Japan was portrayed as the place where East Asian art reached its zenith. This narrative aligns with Japan’s political rise as a colonial power in Asia, with Japan emerging as the representative hub of East Asian art in German literature. On the other hand, Korea and its art were persistently depicted as the cultural underdogs and losers in East Asian history. The question of whether German art historical literature, which failed to identify artistic significance in Korean art, underwent changes after World War II remains a topic for further investigation. Uncovering and critically examining the German tradition of East Asian art history imposed on Korean art and reevaluating Korean art will allow the global phenomenon of K-culture to be appreciated not as a superficial trend but with genuine meaning.
More importantly, the German art historical approach to Korean art was closely aligned with Japanese perspectives. Such resources as Japan’s East Asian art magazine Kokka , the antique art collection Shimbi Taikan , and government-published works (e.g., Chosen Kofun Hekigwa and Chosen Koseki Zufu ) were utilized as foundational references. This reliance suggests that the narrative in German art history mirrored Japanese scholarly research. Additionally, influential German art historians and museum professionals like Otto Kümmel and Ernst Grosse traveled to Japan, fostering intimate exchanges. This reality underscores the fact that access to Korean art was mediated through Japan. German art historians viewed Japanese-led excavations as opportunities to protect Korean cultural heritage and fill the gaps in East Asian art history, often justifying Japan’s colonial rule as a cultural endeavor.
In early 20th-century historical literature on German art, Korean art was framed as a shadow of grand Chinese art, thus denying it an independent identity. Furthermore, a common belief was that all artistic vitality in Korea disappeared following Toyotomi Hideyoshi’s invasions. Notably, while China was positioned as the creative origin and dominant center of East Asian art, Japan was portrayed as the place where East Asian art reached its zenith. This narrative aligns with Japan’s political rise as a colonial power in Asia, with Japan emerging as the representative hub of East Asian art in German literature. On the other hand, Korea and its art were persistently depicted as the cultural underdogs and losers in East Asian history. The question of whether German art historical literature, which failed to identify artistic significance in Korean art, underwent changes after World War II remains a topic for further investigation. Uncovering and critically examining the German tradition of East Asian art history imposed on Korean art and reevaluating Korean art will allow the global phenomenon of K-culture to be appreciated not as a superficial trend but with genuine meaning.
목차
Ⅰ. 서론
Ⅱ. 보이지 않는 한국미술
Ⅲ. 한국미술사 서술의 전제
Ⅳ. 결론
참고문헌
ABSTRACT
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