만주국 황궁 및 공예품의 근대성과 식민지적 정치성

Abstract

Manchukuo(滿洲國) had been greatly influenced in almost all areas, including Japanese systems, economy, and culture, under the Japanese military's control as a bridgehead for Japan's entry into mainland China. The Manchukuo palace has a vast collection of about 50,000 pieces related to Emperor Puyi(溥仪,1906-1967), with the splendid interior decorations. Manchukuo palace and craft-works are characterized by the Japanese colonial rule logic and the wartime system in the 1930s and 1940s. Manchukuo was restructured as a colony based on the historical background of the Japanese system's transplantation and the wartime situation. The Manchukuo palace and craftworks reflect the politicized symbolism of Manchukuo, which modernity and coloniality overlaped. They dominated Manchukuo as a visual media that connoted the symbolism of the colonial system, which reflected Japanese system and patterns. Therefore, the study on the craft-works of Manchukuo can be interpreted in terms of the production and use of crafts that reflected Japan's colonial policies spread across the three countries of Korea, China, and Japan. This have the great significance in modern craft history in that it can judge the trend of Northeast Asian crafts in the first half of the 20th century. Thus Manchukuo palace and craft-works should be understood not only in the study on regional history in northeastern China, but also in the large context of East Asian craft history, which involved politicized symbols in the first half of the 20th century.