19세기 후반 유럽 도자에 나타난 일본 미술에 대한 인식과 수용

Abstract

The origin of interest and taste in Japanese art, which had been spread in Europe in the late 19th century, was the revival of decorative arts in Europe after the Industrial Revolution. The Japanese artwork was introduced to Europe as the source of artistic creation which was expected to bring the quality improvement of the European industrial art. In this research it is to examine how the Japanese artwork was accepted and interpreted through of the World Exposition in which European industry and the art of the orient encountered. The procedure of the acceptance of Japanese art in European ceramics can be explained in three phases. The first stage is the time when the patterns and materials of Japanese prints are decorated in European ceramics. This occurred in the early stage of japanism, Japanese influence on European art, and it is evident through the British ceramics exhibited at the Vienna World Exposition in Austria in 1873. Moreover, the opportunity for Christopher Dresser to visit Japan in 1876 was a decisive moment for the industrial art of England to reflect the motives and formative characteristics of Japanese art. The second step is that the technical features of Japanese ceramics are applied to the ceramic production process in Europe, beyond the stage where the motif inspired by Japanese art is embodied in European ceramics. Typical Japanese craft techniques such as makie, azo and dyeing works are reproduced by European ceramics, and techniques based on the shape of metal works are produced and imitated. Next, as the Japanese old ceramics were introduced into the West, a new stage of movement of japanism appeared at the center of European ceramics. After the introduction of many Japanese arts in the 1860s, the group of Japanese art collectors was formed between the European middle class and the bourgeoisie. They attempted a more systematic approach to understand Japanese art by combining their artistic tastes with academic achievements of oriental studies. New Japanese art collectors formed in Europe since the 1870s, when japanism spread throughout the society, played a leading role in establishing museums that professionally introduce Japanese history and culture. With these movements, Japanese old ceramics introducing Japanese history of artifacts were introduced to Europe, and the beauty of Japanese old ceramics with the aesthetic features of unconstrained form and the change of glaze during fireworks was noticed and accepted as a possibility of expression of new formatives in European ceramics.