이번 연구는 국가마다 의견 차이가 있어 전후 현대적으로 동아시아 3개국 각국에 서구 문화 예술 교류가 미치는 영향을 살펴보는 것을 목적으로 한다. 이는 오랜 역사 속에서 관점과 관점의 차이가 있기 때문에 같은 문화권에 인접해 있더라도 문화 교류에 대한 새로운 이해를 촉진하는 데 효과적이기 위한 것이다. 특히 현대에 이르러서는 민족국가보다 높은 수준에서 지역문제를 협력적으로 해결하려는 운동인 '신지역주의'의 관점 개발이 지역 사회와 문화를 통한 지역다각화를 촉진한다. 그동안 현대문화예술에 대한 정당한 평가는 정치적·군사적·환경적·문화적 간섭에서 벗어나 여러 가지 관점에서 상호 이루어져야 한다고 본다. 이번 연구는 동아시아 근대 서양 문화와 예술 교류사뿐만 아니라 동아시아 근대사의 배경과 ... 더보기

이번 연구는 국가마다 의견 차이가 있어 전후 현대적으로 동아시아 3개국 각국에 서구 문화 예술 교류가 미치는 영향을 살펴보는 것을 목적으로 한다. 이는 오랜 역사 속에서 관점과 관점의 차이가 있기 때문에 같은 문화권에 인접해 있더라도 문화 교류에 대한 새로운 이해를 촉진하는 데 효과적이기 위한 것이다. 특히 현대에 이르러서는 민족국가보다 높은 수준에서 지역문제를 협력적으로 해결하려는 운동인 '신지역주의'의 관점 개발이 지역 사회와 문화를 통한 지역다각화를 촉진한다. 그동안 현대문화예술에 대한 정당한 평가는 정치적·군사적·환경적·문화적 간섭에서 벗어나 여러 가지 관점에서 상호 이루어져야 한다고 본다. 이번 연구는 동아시아 근대 서양 문화와 예술 교류사뿐만 아니라 동아시아 근대사의 배경과 문화적 배경도 살펴본다. 풍속 등을 살피고, 서양 근대문화예술이 각국에서 아시아 미술의 조형성과 관점에 미치는 영향을 다각적인 관점에서, 또 하나의 문화적 관점에서 살펴볼 필요가 있다고 생각한다. 특히 서양 문학의 수용 시간과 방법의 차이는 물론 중국과 일본, 한국의 역사적 배경의 차이가 크고, 문화적 가치에 대한 통찰도 다르다. 특히 서양화의 유입과 수용 과정에는 시차가 있지만 국가 정책과 지리는 큰 것으로 평가된다. 발전적 응용과 수용 과정에서 거부감이 발생했지만 문화예술의 토착성이 성숙되고 서양화가 창의적으로 등장했다. 이러한 현상은 예술에 대한 경계, 내용, 사물 등 다양한 요소에 의해 결정되는 이념적, 정신적 함의가 주기적, 시간적 관점에서 개입되는 현상이라고 할 수 있다. 그레고르 파울손 (1889년-1977년)사회적 차원의 의미를 간과해서는 안 된다는 뜻이다. 한 나라의 제국주의적 좁은 시각에서 벗어나 세계주의적 관점에서 문화와 예술의 역사를 바라볼 수 있는 다문화주의가 필요하기 때문이다. 줄이기

This study aims to examine the influence of Western cultural and artistic exchanges on each country in the three East Asian countries, in the pre- and post-modern times as there are differences in opinions from country to country. This is intended to be effective in promoting a new understanding of cultural exchanges, even though they are adjacent to the same cultural area, since there a... 더보기

This study aims to examine the influence of Western cultural and artistic exchanges on each country in the three East Asian countries, in the pre- and post-modern times as there are differences in opinions from country to country. This is intended to be effective in promoting a new understanding of cultural exchanges, even though they are adjacent to the same cultural area, since there are differences in perspective and perspective in the long history. In particular, in modern times, the development of the perspective of'New Regionalism', a movement that seeks to cooperatively solve regional problems at a higher level than the nation-state, promotes regional diversification through local society and culture. In the meantime, I believe that a legitimate evaluation of contemporary culture and arts should be mutually made from multiple perspectives, free from political, military, environmental, and cultural interference. This study examines not only the history of East Asian modern Western culture and art exchange, but also the background and cultural background of the modern East Asian history. I think it is necessary to examine the customs, etc., and to examine the influence of modern Western culture and arts on the formative and perspective of Asian art in each country from a multifaceted perspective, and another cultural perspective. In particular, not only the differences in the time and method of acceptance of Western literature, but also the historical background of China, Japan, and Korea have a large difference, and the insights on cultural values are also different. In particular, there is a time difference in the inflow and acceptance process of Western painting, but the national policy and geography are considered to be large. Although rejection occurred in the process of developmental application and acceptance, the indigenous nature of culture and art matured and Western painting appeared creatively. This phenomenon can be said to be the involvement of ideological and spiritual implications determined by various factors, including boundaries, content, and objects, for art from a periodic and temporal perspective. Gregor Paulsson (1889-1977)This means that the meaning of the social dimension should not be overlooked. This is because multi-culturism is needed to view the history of culture and art from a globalist perspective, freeing from the imperialistic narrow perspective of a country. 줄이기

This study aims to examine the influence of Western cultural and artistic exchanges on each country in the three East Asian countries, in the pre- and post-modern times as there are differences in opinions from country to country. This is intended to be effective in promoting a new understanding of cultural exchanges, even though they are adjacent to the same cultural area, since there are differences in perspective and perspective in the long history. In particular, in modern times, the development of the perspective of'New Regionalism', a movement that seeks to cooperatively solve regional problems at a higher level than the nation-state, promotes regional diversification throug... 더보기

This study aims to examine the influence of Western cultural and artistic exchanges on each country in the three East Asian countries, in the pre- and post-modern times as there are differences in opinions from country to country. This is intended to be effective in promoting a new understanding of cultural exchanges, even though they are adjacent to the same cultural area, since there are differences in perspective and perspective in the long history. In particular, in modern times, the development of the perspective of'New Regionalism', a movement that seeks to cooperatively solve regional problems at a higher level than the nation-state, promotes regional diversification through local society and culture. In the meantime, I believe that a legitimate evaluation of contemporary culture and arts should be mutually made from multiple perspectives, free from political, military, environmental, and cultural interference. This study examines not only the history of East Asian modern Western culture and art exchange, but also the background and cultural background of the modern East Asian history. I think it is necessary to examine the customs, etc., and to examine the influence of modern Western culture and arts on the formative and perspective of Asian art in each country from a multifaceted perspective, and another cultural perspective. In particular, not only the differences in the time and method of acceptance of Western literature, but also the historical background of China, Japan, and Korea have a large difference, and the insights on cultural values are also different. In particular, there is a time difference in the inflow and acceptance process of Western painting, but the national policy and geography are considered to be large. Although rejection occurred in the process of developmental application and acceptance, the indigenous nature of culture and art matured and Western painting appeared creatively. This phenomenon can be said to be the involvement of ideological and spiritual implications determined by various factors, including boundaries, content, and objects, for art from a periodic and temporal perspective. Gregor Paulsson (1889-1977)This means that the meaning of the social dimension should not be overlooked. This is because multi-culturism is needed to view the history of culture and art from a globalist perspective, freeing from the imperialistic narrow perspective of a country. 줄이기