The purpose of this research thesis is to analyze characteristics of the painting of Orientalism appearing in France in the end of the 19th century, based on the theoretical viewpoint on it by John McKenzie in the book, titled 『Arts and History of Orientalism』. John McKenzie is perceived to have mad...
The purpose of this research thesis is to analyze characteristics of the painting of Orientalism appearing in France in the end of the 19th century, based on the theoretical viewpoint on it by John McKenzie in the book, titled 『Arts and History of Orientalism』. John McKenzie is perceived to have made the most rational research and study on some 20-year- criticism surrounding the concept of Orientalism established from the destructive and violent perspective by Edward Wadie Said in 1978. McKenzie makes another examination on popular art genres, such as fine art, architecture, and play, etc., which reflect the given times, in addition to elite-centered literature mentioned by Said. In particular, McKenzie raises the heated question on the historic awareness by Said that ‘Orientalism’ lacks, and views that Orientalism should not merely be established as the concept to redefine Eastern nations, from the viewpoint by imperialists, but this should be regarded as the intersection with each different culture ensuing after the trend of times and any specific incidences. Although the concept of Orientalism entails the mixed and different meaning, such as this, the painting of Orientalism to mirror such characteristic tends to be analyzed, focusing on solely imperialistic viewpoint but disregarding the trends of any given times. Thus, this research thesis studied Orientalism, establishing the basic ground on Orientalism on fine art defined by John McKenzie, in the contemplation of historic contexts and cultural mutual exchange and intersection with surrounding regions. In this regard, this thesis attempted to explore the unique and distinct characteristics that Orientalism assumes reappearing in the painting sphere throughout the 19th century, designed in France, the hub of Orientalism, from the perspective stated above, classifying the striking image of Orientalism into gender: Female and Male Image. Given the fact that female character-centered painting of Orientalism was one of patterns most commonly handled in the 19th century, it can be said that this represents the changing aspects of the paining of Orientalism, to the most noticeable extent. Besides, Male character-focused painting of Orientalism is required in that this is described on the basis of realism. Against this backdrop, this research thesis is intended to make the exhaustive analysis on the French painting sphere throughout the 19th century, abolishing the existing study biased toward feminine voluptuous beauty.
The purpose of this research thesis is to analyze characteristics of the painting of Orientalism appearing in France in the end of the 19th century, based on the theoretical viewpoint on it by John McKenzie in the book, titled 『Arts and History of Orientalism』. John McKenzie is perceived to have made the most rational research and study on some 20-year- criticism surrounding the concept of Orientalism established from the destructive and violent perspective by Edward Wadie Said in 1978. McKenzie makes another examination on popular art genres, such as fine art, architecture, and play, etc., which reflect the given times, in addition to elite-centered literature mentioned by Said. In particular, McKenzie raises the heated question on the historic awareness by Said that ‘Orientalism’ lacks, and views that Orientalism should not merely be established as the concept to redefine Eastern nations, from the viewpoint by imperialists, but this should be regarded as the intersection with each different culture ensuing after the trend of times and any specific incidences. Although the concept of Orientalism entails the mixed and different meaning, such as this, the painting of Orientalism to mirror such characteristic tends to be analyzed, focusing on solely imperialistic viewpoint but disregarding the trends of any given times. Thus, this research thesis studied Orientalism, establishing the basic ground on Orientalism on fine art defined by John McKenzie, in the contemplation of historic contexts and cultural mutual exchange and intersection with surrounding regions. In this regard, this thesis attempted to explore the unique and distinct characteristics that Orientalism assumes reappearing in the painting sphere throughout the 19th century, designed in France, the hub of Orientalism, from the perspective stated above, classifying the striking image of Orientalism into gender: Female and Male Image. Given the fact that female character-centered painting of Orientalism was one of patterns most commonly handled in the 19th century, it can be said that this represents the changing aspects of the paining of Orientalism, to the most noticeable extent. Besides, Male character-focused painting of Orientalism is required in that this is described on the basis of realism. Against this backdrop, this research thesis is intended to make the exhaustive analysis on the French painting sphere throughout the 19th century, abolishing the existing study biased toward feminine voluptuous beauty.
※ AI-Helper는 부적절한 답변을 할 수 있습니다.