츠치다 바쿠센(土田麥僊)의 〈평상(平牀)〉과 청초고아(淸楚古雅)의 미(美)

Abstract

The 〈PyeongSang〉 (An arts museum, Gyosera Arts Museum seated at Kyoto City) is a work made through news gathering in Joseon on 1933 by Tsuchida Bakusen. The work allocating 2 women wearing Korean traditional clothes at the background of indoor equipped with pyeongsang has been mentioned as an epidemic case representing the gisaeng as passiveness, identity and prior modernism by traditional Japanese painters. However, the points those Bakusen translated the costume and cultural remains in the era based on oriental classic painting and putting weight on using color and line rather than emphasizing color of Joseon require the framework of new interpretation on the 〈PyeongSang〉 out of the conventional discourse. The translation through realistic classic and the expression of ‘Cheongcho-Goa(淸楚古雅)’ finished with the beautiful lines and blandest colors of whiteness tone are the carrying out of modernistic Japanese painting pursued by Bakusen at that time and the one in the same context with the Neoclassicism of Japanese painting society at that era.<BR> Therefore, this article traced and looked into the production procedures of 〈PyeongSang〉 and the expression of ‘Bluish Fresh Ancient Grace’ via the costume and cultural remains at that time and oriented to the trends of the painting society with Imperial Academy of Fine Arts Exhibition at its center at that time. Of course, it is very hard to deny that Bakusen partially contributed finding “the traces of Tang Era beyond the age of thousand years” and hiding the reality of colony by separating Gisaeng to reality via ancient arts based on Joseon Stagnation.<BR> But the Cheongcho-Goa in 〈PyeongSang〉 which is felt with the graceful image of ancient religious painting is a shape of new Japanese painting to be suggested by Bakusen who disassembled the opposing group, National Creative Association and returned to Imperial Academy of Fine Arts Exhibition after 10 years. It is believed as necessary to evaluate newly that Joseon granted the possibility and stimuli considerably to form the contemporary arts of Japan.