earticle

영어

The Hiroshima Panels began to be released by husband-and-wife artists Iri and Toshi Maruki from 1950 when no clear information was given about the devastation by the atomic bomb, and the censorship by the occupation forces still remained. Iri and Toshi who witnessed tragic sight just after the atomic bombing started to create works collaboratively to inform the fact of the atomic bomb. The Hiroshima Panels that gave a great impact on those who did not know the facts eventually became a symbolic presence of the anti war / peace movements and anti-nuclear movement through touring exhibitions in Japan. Especially, “Talking” in front of the pictures, which was practiced intentionally in the touring exhibition, created a space to share the misery of the war with stirring the imagination of the viewers. We could say that the existence of Hiroshima Panels shew the significance that an art work could be a tool of social movements. It also gives great suggestions to the social role of art to tackle the current international problems such as nuclear weapons and wars.

일본어

丸木位里と俊夫妻による＜原爆の図＞シリーズは、占領軍による検閲の余波が残り、原爆の被害について明確な情報がもたらされていなかった1950年から発表されはじめた。原爆投下直後の凄惨な状況を目撃した位里と俊は、原爆の事実を知らしめるため共同作業による制作を行った。事実を知らない人々に大きな衝撃を与えた＜原爆の図＞シリーズはやがて、巡回展を通じて反戦·平和運動、反核運動の象徴的存在となっていく。特に巡回展で実践された、絵の前での｢語り｣は、絵を見る人々の想像力を掻立て、戦争の悲惨さを共有する空間を作り上げた。このように美術作品が社会運動の武器となった点で＜原爆の図＞が持つ意味は大きい。また核や戦争をめぐる現在の国際的な問題において、美術が果たす社会的役割について大きな示唆を与えている。