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영어

War Painting of Japan during the Russo-Japanese War are divided into two groups which are depicted the scene of front, and the scene of the rear. The first group is consisted of paintings by painters followed the army and paintings by only imagination. In the first time of the war there were almost war paintings of imagination, the works became printed in the magazine,『Records of Russo-Japanese War日露戦争実記(Nichiro-senso-jikki)󰡕or 『New Report of Fine Art美術新報(Bijutsu-sinpo)󰡕 as the activity by the painters followed the army were increased. Almost of the war paintings which were painted during the Russo-Japanese War were based on the nationalism of Japan and ideology of the Emperor system. In their paintings patriotism were impressed and the war dead were painted as heros and they never expressed the character of the war as invasion war. There were really rare cases reflected the humanism by painting the surviving family such as Isii Hakutei石井柏亭 and Kobayashi Senko小林千古 and painting the war with sceptic view like Kosugi Misei小杉未醒.

일본어

日露戦争期における日本の戦争画は主に戦場を描いたものと銃後の光景を描いたものに大別されるが、前者の場合、また従軍した画家が描いたものとそうではない想像画の二種類がある。開戦初期から想像画が絶対的な優勢を見せたが、従軍画の活動によって実際の戦闘場面を始めとする戦場の光景が『日露戦争実記󰡕や『美術新報󰡕などの雑誌によって一般人にも見られるようになった。しかし、従軍した画家の中にも架空の場面を描いたり、天皇制のイデオロギーが徹底的に内面化した例を残した。要するに、日露戦争期における日本の戦争画のほとんどは国家主義によるもので、日露戦争の侵略戦争としての性格は表すことなく、愛国心を称え、戦死者を英雄化した。一部の例外として小杉未醒が戦争を懐疑的な見方で捉えた例や戦死者の遺族の悲しみを直接露にした小林千古、石井柏亭などの絵があり、当時のヒューマニズムを反映している。