• The Journal of Art Theory & Practice
• /
• no.4
• /
• pp.57-76
• /
• 2006

From the late 1920s to the 1930s, Korea's fine art community focused on traditional viewpoints as their main topic. The traditional viewpoints were discussed mainly by Korean students studying in Japan, especially oil painters. Such discussions on tradition can be divided into two separate halves, namely the pre- and post-Sino-Japanese War (1937) periods. Before the war, the modernists among Korea's fine art community tried to gain a fuller understanding of contemporary Western modern art, namely, expressionism, futurism, surrealism, and so forth, on the basis of Orientalism, and borrow from these schools' in order to create their own works. Furthermore, proponents of Joseon's avant-garde fine arts and artists of the pro-fine art school triggered debate on the traditional viewpoints. After the Sino-Japanese War, these artists continued to embrace Western modern art on the basis of Orientalism. However, since Western modern fine art was regressing into Oriental fine art during this period, Korean artists did not need to research Western modern fine art, but sought to study Joseon's classics and create Joseon's own avant- garde fine art in a movement led by the Munjang group. This research reviews the traditional view espoused by the Munjang group, which represented the avant-garde fine art movement of the post-war period. Advocating Joseon's own current of avant-garde fine art through the Munjang literary magazine, Gil Jin - seop, Kim Yong-jun and others accepted the Japanese fine art community's methodology for the restoration of classicism, but refused Orientalism as an ideology, and attempted to renew their perception of Joseon tradition. The advocation of the restoration of classicism by Gil Jin-seop and Kim Yong-jun appears to be similar to that of the Yasuda Yojuro-style restoration of classicism. However, Gil Jin-seop and Kim Yong-jun did not seek their sources of classicism from the Three-Kingdoms and Unified Silla periods, which Japan had promoted as a symbol of unity among the Joseon people; instead they sought classicism from the Joseon fine art which the Japanese had criticized as a hotbed of decadence. It was the Joseon period that the Munjang group chose as classicism when Japan was upholding Fascism as a contemporary extremism, and when Hangeul (Korean writing system) was banned from schools. The group highly evaluated literature written in the style of women, especially women's writings on the royal court, as represented by Hanjungnok (A Story of Sorrowful Days). In the area of fine art, the group renewed the evaluation of not only literary paintings, but also of the authentic landscape paintings refused by, and the values of the Chusa school criticized as decadent by, the colonial bureaucratic artists, there by making great progress in promoting the traditional viewpoint. Kim Yong-jun embraced a painting philosophy based on the painting techniques of Sasaeng (sketching), because he paid keen attention to the tradition of literary paintings, authentic landscape paintings and genre paintings. The literary painting theory of the 20th century, which was highly developed, could naturally shed both the colonial historical viewpoint which regarded Joseon fine art as heteronomical, and the traditional viewpoint which regarded Joseon fine art as decadent. As such, the Munjang group was able to embrace the Joseon period as the source of classicism amid the prevalent colonial historical viewpoint, presumably as it had accumulated first-hand experience in appreciating curios of paintings and calligraphic works, instead of taking a logical approach. Kim Yong-jun, in his fine art theory, defined artistic forms as the expression of mind, and noted that such an artistic mind could be attained by the appreciation of nature and life. This is because, for the Munjang group, the experience of appreciating nature and life begins with the appreciation of curios of paintings and calligraphic works. Furthermore, for the members of the Munjang group, who were purists who valued artistic style, the concept of individuality presumably was an engine that protected them from falling into the then totalitarian world view represented by the Nishita philosophy. Such a 20th century literary painting theory espoused by the Munjang group concurred with the contemporary traditional viewpoint spearheaded by Oh Se-chang in the 1910s. This theory had a great influence on South and North Korea's fine art theories and circles through the Fine Art College of Seoul National University and Pyongyang Fine Art School in the wake of Korea's liberation. In this sense, the significance of the theory should be re-evaluated.

• The Journal of Korean Medical History
• /
• v.29 no.1
• /
• pp.33-45
• /
• 2016

Yeongnyeon-euisaeng (永年醫生) was a licensed Euisaeng (醫生) without time limit. Yeongnyeon-euisaeng was a member of bridging the gap between Joseon Dynasty and the Japanese colonial period in hanuigye (韓醫界). This study aims at better understanding the Yeongnyeon-euisang. In methods, several statistics have been served about Yeongnyeon-euisaeng on the basis of the Official gazette. The following facts have been found through the Official gazette. First, the time limitted licenses have been issued mixed with a permanent license. Secondly, Yeongnyeon-euisaeng lived longer than other people. Third, the residence of Yeongnyeon-euisaeng was a very high proportion in South Hamgyong Province. Fourth, Yeongnyeon-euisaeng played an important role in Korean medical doctor (韓醫師) system after the liberation. In addition, the correlation of multilateral for Yeongnyeon-euisaeng and Confucian doctor were examined. Area of the Confucian doctor decreased since the 17th century. Confucian doctor's region and position declimed during the Japanese occupation. But Confucian doctors were also culled as status of Korean medicine and Neo-Confucianism declimed.

• Journal of architectural history
• /
• v.11 no.2 s.30
• /
• pp.7-22
• /
• 2002

Architectural style is said to be product reflecting political, social and cultural condition. Especially, in colony, architectural style is strongly related to political condition or policy. After colonization in 1910, public buildings with western historical architectural style in Japanese version were widely built by Japanese colonial government in Korea. And in the late 1920s, modernism style in architecture became dominant in Korea as like other countries. In this situation, curious buildings in strange architectural styles came out. One example is railroad station buildings with traditional Korean architectural style and timber house station having a steep roof which is widely used in North Europe such as Alps area with good sights and mountains. Generally, the colonizer says that colonization is the only way to save the colony at crisis defined by colonizer and they insist that they can help the colony modernize. To justify colonization, the colonizer attributes the colonization to the characteristics of the nation and stagnation of the traditional culture etc.. Accordingly, the colonizer tries to depreciate colony's traditional value and culture. In case of colony which has similar cultural background historically (in this case, economical exploitation is less important than other Asian colony by European power), this depreciation of traditional value and culture in Korea was done more strongly than others. At this time, we should understand special relation between Korea and Japan historically. Even though, colony's locality is adopted by the colonizer in public fields, which is based on political purpose or exotic taste etc.. In early days of Japanese ruling period, Japan never use the Korean traditional facts in public. Therefore there is no use of Korean traditional architectural style in public field. In late 1920s, some railroad station buildings were constructed in new styles without precedence in modern Korea. One is railroad station buildings in Korean traditional architectural style, the other is railroad station buildings in timber house stations having a steep roof which is different form western historical architectural style. It was mystery that Japan had constructed railroad stations in Korean traditional style which Japan had tried to destroy together with Western style railroad station buildings. This paper is made to solve the mystery why the colonizer(Japan) constructed entirely different types of railroad stations at the same time in the late 1920s and 1930s. The key point to solve this mystery is tourism. In this paper, to solve this mystery, I try to use terminology' 'Colonial Tourism' in architecture why colonial power had constructed railroad stations with colony's traditional architectural style and Western style having a steep roof which can be seen north European region.

• Journal of the Korean Society for Railway
• /
• v.16 no.2
• /
• pp.151-162
• /
• 2013

This paper presents a comparison of Korean and Manchurian railway system during the Japanese colonial era of Korea. While both railways share the common characteristics of an imperial railway, they revealed several differences. Firstly, the Manchurian railway was likely a private company, although it was operated half privately and half by the government. The Manchurian railway operated like the East Indian Company in India during the English colonial era. On the other hand, the Korean railway was fully operated by the government at a ministry level. While the Korean railway solely concentrated on the railway, the Manchurian railway was involved in regional development and the coal-mining industry as well. Secondly, in contrast to the Korean railway, the Manchurian railway was more lucrative, and was relatively more predominant regarding carriage of freights. Thirdly, railway officers in Korea were elected government bureaucrats, while Manchurian railway officers came from diverse political parties and social strata. After the annexation by the Kwantung Army, the Manchurian railway was mainly influenced by the military. The common characteristic here was that both railways were utilized for military purposes as imperial railways. In partilcular, the Manchurian railway executed military orders directly. Hereafter, through a comparative study between the Japanese and Taiwanese railways, a clear and accurate understanding of the characteristics of the Korean railway during the Japanese era will be revealed.

• Journal of Korean Society of Forest Science
• /
• v.85 no.3
• /
• pp.381-395
• /
• 1996

This study examines the nature of policies of the national forest in the colonial Korea during the period 1926-36. The contents of Choson Forestry Policy Plan announced in 1926 by the colonial government were compared with the actual accomplishments appearing in the historical records. The Plan is believed to have two-fold objectives : that is, the attainment of sustainable profits from the management of national forests and the restructuring of the national forest management organizations for the minimization of administration costs of the colonial government. The objectives of the Plan was framed by the influence of the Imperial Japanese Government. The analysis reveals that the timber supply from national forests was increased by two folds during the period of 10 years resulting an enormous decrease in the growing stock of national forests. The number of national forest management stations was decreased steadily while the regeneration of forest logged relied mainly on the natural regeneration, with artificial regeneration ratio of 13% by acreage. Based on the result of analysis, it is concluded that the national forest policy during the period 1926-36 is a resource exploiting policy for the benefit of the Imperial Japan.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.20 no.12
• /
• pp.671-677
• /
• 2019

The modern urban planning of Qingdao began in the early 20th century by the German colonization. At that time, the Germans adopted the modern urban planning philosophy and standards for building high-level cities in Qingdao's planning. Therefore, in the turmoil that followed the period of Japanese occupation and the Republic of China, although urban planners constantly changed, they always planned according to the initial plans of the city. Therefore, this paper conducted a time division on the urban planning of the Qingdao colonial period through an analysis of various literary materials by combining the historical backgrounds of different periods. This can be the basis for an analysis of current urban planning in Qingdao. This paper is divided into seven chapters. Chapter 1 is the introduction for description purposes and scope. In Chapter 2, the Urban Planning of Qingdao in the Chinese Colonial Period is confirmed and explained. Chapter 3 concludes the characteristics of the planning.

• (The) Research of the performance art and culture
• /
• no.42
• /
• pp.107-146
• /
• 2021

This article examined the current status of performance activities in the theaters in Ulsan during the Japanese colonial period, and examined the characteristics and social roles of performance culture at that time.,The cultural space during the Japanese colonial period can be divided into theater space and semi-theater space.,The theater spaces in Ulsan include Daejeonggwan, Sangbanggwan, and Ulsan Theater. The semi-theater spaces include Ulsan Youth Center, Ulsan Youth Alliance Hall, Barrack Youth Hall, Eonyang Youth Alliance Hall, Eonyang Christian Hall, Eonyang Christian Hall, Eonyang Inn, Eonyang Public Inn, Eonyang Public Normal School, Seosaeng School, Ulsan Public Aid Auditorium, Night school.,These spaces not only held events or performances for a specific purpose, but also played a role as public spaces producing local discourse. The theater was a complex cultural space where performances are performed along with movie performances, and artists and audiences meet.,Furthermore, the theater provided a special experience of producing and consuming various issues such as colonial modernization, modern city formation, and the emergence of new popular culture beyond the meaning of stage space.,The theaters in Ulsan also functioned as a space to represent the foreign culture acceptance, leisure activities, the performance and viewing of cultural contents, and the artistic skills of local artists in accordance with the purpose of establishing local theaters.,It was a base space for local discourse production and enjoyment activities by holding political rallies, meetings, lecture activities, and various conferences.,Political rallies were also concerts, enlightenment activities were also accompanied by film screenings, and music performances were associated with dance performances and charity gatherings.,In particular, Ulsan Theater, which is the first theater in Ulsan, and the role of the public hall, held a lecture, debate, and oratory for public enlightenment along with performances such as musical drama, children's song contest, fairy tale contest, small-sized play performance,, It was widely used as a large-scale rallying place, and served as a public hall, such as a place to visit outside theaters. Thus, the theater and semi-theater space in Ulsan during the Japanese colonial period improved the cultural level of the region, fulfilling the aesthetic needs of the local people and faithfully fulfilling the social role as a public sphere leading the public opinion and agenda.,And it was also positioned as an alternative public area of ​​modern society and also played a role as a public institution.

• Architectural research
• /
• v.18 no.3
• /
• pp.103-111
• /
• 2016

This paper investigates the characteristics of preservation of Korean modern architecture through Western historic preservation theories and philosophies. This research focuses on the Japanese Government-General of Korea (1926-1995) which was built in 1926 and used as the chief administrative building in Seoul (Keijo in Japanese) during the Japanese colonial period (1910-1945). After Korea was liberated from Japanese rule in 1945, this building was used until 1995 for the South Korean National Assembly, the United States Army Military Government in Korea, and the National Museum of South Korea. Although it served a variety of roles, this building was the most controversial case of historic preservation in Korean modern architecture. To analyze the peculiarities and characteristics of Korean modern architecture and its preservation, this research applied Western historic preservation theories, not exclusively from classical historic preservation theories developed by Viollet-le-Duc and John Ruskin, but also from modern historic preservation theories by Theodore H. M. Prudon, Daniel Blunstone, and Frances A. Yates. This cross-cultural and comparative study of historic preservation helps identify Korean modern architecture's characteristics. It can also be a useful reference in finding the origins of Korean modern architectural identity.

• The Journal of Korean Medical History
• /
• v.23 no.1
• /
• pp.77-104
• /
• 2010

In July 2008, I obtained a copy of "Hanbang Eihak Gangseupseo" through Uibangseowon. It was recorded that the book was compiled by Seong Ju-bong and reviewed by Ji Seok-young. According to previous studies, this book was the lecture book that was used in teaching Traditional Korean Medicine in Daejeon, Chungcheongnam-do. This book gave insight to the system and curriculum of the school for Traditional Korean Medicine in Daejeon, Chungcheongnam-do. It also exhibited the academic characteristics of Traditional Korean Medicine in the Period of Japanese Occupation and the medical viewpoint of Seong Ju-bong. The summary is as follows: First, an independent School for Traditional Korean Medicine was run in Daejeon, Chungcheongnam-do, with reasonable curriculums and systematic textbooks. Second, the medical viewpoint and treatment methods of Huang Yuan-Yu of Qing Dynasty was actively introduced. Then it was reorganized for the society and stimulated the progress of Traditional Korean Medicine. Third, while absorbing Chinese Medicine, it still inherited our heritage of Traditional Korean Medicine Especially, Seong Ju-bong's original opinions and clinical experiences are shown in surgery, gynecology and pediatrics. Fourth, in a break from the past, when Chinese culture could not be introduced due to diplomatic problems between Joseon and Qing, efforts were made to overcome limitations of lagging behind by adopting and educating Warm Disease study. Fifth, while working side by side with Ji Seok-young who introduced the modern Western Medicine through vaccination, it still searched for a traditional Korean medical treatment for chickenpox. I hope that the report of my findings through reading "Eihak Gangseupseo" could make up for the fact that the medical history during the colonial period is scarce.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.1
• /
• pp.22-43
• /
• 2023

This paper deals with the stone standing Avalokitesvara statue in Jeonghyesa Temple that was created by Mangong in 1924. The stone standing Avalokitesvara statue of Jeonghyesa Temple is the earliest extant Buddha statue produced by Mangong, and symbolism was given to Jeonghyesa in the process of its reconstruction. So far, there has been no study that has approached ideas and beliefs through Buddhist studies led by Mangong and specific relics. In order to proceed with this study, Mangong's legal words and anecdotes and newspaper articles during the Japanese colonial era were used to trace the dynamics of Jeonghyesa and Sudeoksa during Mangong's reign, and to investigate the effects obtained from the creation of the large Bodhisattva statue and the meaning of its location. In addition, an interview was attempted with the descendants of master, who were in charge of the sculpture at the time, to confirm the exact construction period and the list of craftsmen. It is judged that the stone standing Bodhisattva statue of Gwanchoksa Temple has been influenced by the double covering and square crown seen in the standing stone statue of Avalokitesvara Bodhisattva of Jeonghyesa Temple, the large hands compared to the body, the proportion between the head and the body, and the sense of enormity felt in the body like a stone pillar. Therefore, we looked at how the standing stone Bodhisattva statue of Gwanchoksa Temple, which was produced in the early Goryeo Dynasty, could have influenced the creation of the Bodhisattva statue in the modern period. A multilateral analysis was attempted on how the image of the Gwanchoksa Bodhisattva statue, which was used as a symbol representing Chungcheongnam-do in the Chosun Exposition held in 1929 and the visit to Gwanchoksa Temple, which began with the laying of the railroad during the Japanese colonial period, was used from the viewpoint of the succession and transformation of the style. With this study as an opportunity, it is hoped that the understanding of the prehistoric Mangong representing the modern period and the horizon of Korean Buddhist sculpture research in the modern period will be broadened.