著者

辻(川瀬) 千春 TSUJI (KAWASE) Chiharu

出版者

名古屋大学博物館

雑誌

名古屋大学博物館報告 (ISSN:13468286)

巻号頁・発行日

vol.30, pp.37-55, 2015-03-31

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日韓両国の空白の美術史である植民地期朝鮮における創作版画の展開についての研究の端緒として,唯一の創作版画専門の美術団体である「朝鮮創作版画会」について,1929 年末の結成前夜から,朝鮮美展における版画の出品受理以降の1933 年までの5 年間の活動を中心に報告した.I reported about the ‘Chosen Sosaku Hanga Kai’, which was the art group that specialized in the Sosaku Hanga (modern wood block prints) in Korea under Japanese colonial rule; mainly on the 5 years activity from the end of 1929 (just before the organization was formed) until 1933, after ‘The Chosen Art Exhibition’ accepted the Sosaku Hanga. This report is only to serve as the beginning of a study of the development of the Sosaku Hanga in Korea during the period of Japanese colonization, that covers a gap in the art history of both Japan and Korea.

著者

辻(川瀬) 千春 TSUJI (KAWASE) Chiharu

出版者

名古屋大学博物館

雑誌

名古屋大学博物館報告 (ISSN:13468286)

巻号頁・発行日

vol.32, pp.63-78, 2017-03-31

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植民地朝鮮(1910–1945)の釜山に移住した郷土玩具の愛好家である清永完治(1896–1971)は,釜山郷土玩具同好会の機関誌に玩具表現の手段として版画を多用し,会員に創作版画を広めていった.清永はそこで形成した趣味家や版画家のネットワークを礎に,時局下に日本本土や朝鮮の日本人の版画家や玩具の愛好家からなる趣味家のネットワークによって朱美之会を発会し,創作版画誌『朱美』を刊行した.それは植民地朝鮮における,創作版画の普及に主眼を置いたものではなく,郷土玩具の普及活動と表裏一体の活動であった.This paper reported the development in light of the political climate at the time of the Sosaku Hanga magazine‘ Shumi’ which was issued by Kanji Kiyonaga (1896–1971) in Pusan, and the network of hobbyists formed around him. Kiyonaga dispersed the use of woodblock prints to his colleagues through his local toy’s fellowship journal. He also personally solidified the network of woodblock artists in mainland Japan through creation of Sosaku Hanga. In this way, he realized the publication of‘ Shumi’ with the support of the network of hobbyists in the wartime regime. But the activities by Kiyonaga and his associates were not focused on the dissemination of the Sosaku Hanga in colonial Korea; they were from cooperative efforts to promote local toys.