Earticle

초록

영어

This study examines the artistic career of Jeong Mal-jo (1907?1977), a Korean Nihonga painter born in colonial Korea and raised in Kyoto, from the perspective of the “boundary” between Japan and Korea. Jeong studied at the Kyoto City School of Arts and Crafts and the Kyoto City Specialist School of Painting. He later joined Shokosha, a private painting school led by Nishiyama Suisho, and developed as a Nihonga painter within the Kyoto art world. At the same time, he consistently depicted Korean people and customs. Because Jeong had lived in Japan since childhood, the Korea represented in his works cannot simply be regarded as a record of his native environment. He visited Korea intermittently to sketch its people and customs and reconstructed these subjects through the techniques of Nihonga acquired in Kyoto. His choice of Korean subject matter may have served as a means of engaging with his origins and distinguishing himself from Japanese painters. However, his representations were also shaped by the institutional framework and critical discourse of the Japanese art world. Contemporary critics described Jeong’s works using such expressions as “local atmosphere,” “the smell of the soil,” and “the characteristics of a person from the peninsula.” Kanzaki Kenichi compared Jeong with the Taiwanese painter Chen Chin, praising both for mastering Nihonga techniques while expressing distinctive local sentiments. This reveals the contradictory expectations imposed upon colonial artists: they were required to follow the technical standards of Nihonga while displaying cultural differences through their subject matter. Jeong’s position became more complex during the Asia-Pacific War. As a member of Shokosha, he participated in exhibitions associated with saikan hokoku, or “serving the nation through painting.” His 1943 work Yamato-gokoro combined symbols of Japan with the figures of a Korean man and woman. This work demonstrates how his representation of Korean figures intersected with wartime imperial ideology. For Jeong, the “boundary” was not a neutral position between two cultures, but a site where multiple and contradictory affiliations coexisted. His career reveals how imperial Nihonga incorporated colonial artists while simultaneously defining and differentiating them according to their colonial origins.

저자

• 후지무라마이

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  동북아 문화연구 [Journal of North-east Asian Cultures]

• 간기

  계간

• pISSN

  1598-3692

• 수록기간

  2001~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 910 DDC 950