@article{oai:nagoya.repo.nii.ac.jp:00021903,
 author = {辻（川瀬）, 千春 and TSUJI, (KAWASE)  Chiharu},
 journal = {名古屋大学博物館報告},
 month = {Mar},
 note = {日韓両国の空白の美術史である植民地期朝鮮における創作版画の展開についての研究のうち，本稿では，『京城日報』（1934–1945）の分析により，朝鮮創作版画会の解散以降の1934 年から1945 年植民統治の終焉までの京城を中心とした創作版画の展開について報告する．1934 年以降には，朝鮮創作版画会が普及を期した，同地を立脚地としてその風土を反映した創作版画ではなく，日本本土から日本的なるものとしての意義を負った「日本版画」の普及が企てられたことを明かした．, In this paper, I reported on the development of the Sosaku Hanga (modern wood block prints) in Kyongsong, Korea. I covered the period from 1934 (just after the dissolution of 'Chosen Sosaku Hanga Kai', a local art group promoting Sosaku Hanga in Korea) to 1945 (the end of the Japanese colonial administration), through a thorough review of newspaper articles in“ Keijyou Nippou” (1934–1945). Before 1934, the 'Chosen Sosaku Hanga Kai' tried to create Sosaku Hanga—which had been developed solely in a Korean climate, and established and familiarized it as 'Hanga' through their art movement. But after 1934, 'Nippon Hanga' (traditional wood block prints made in Japan) that reflected Japanese sensibilities, has been actively brought from mainland of Japan, and the term 'Hanga' used in Korea has changed the meaning from 'Sosaku Hanga' to 'Nippon Hanga'. However, the 'Nippon Hanga' did not become popular to widely spread through Korea.},
 pages = {45--61},
 title = {植民地期朝鮮における創作版画の展開 (3) : 京城における「朝鮮創作版画会」解散後の展開と「日本版画」の流入},
 volume = {31},
 year = {2016}
}