초기 디자인교육으로서의 근대 일본 도안–기법과 내용

노유니아(Roh Junia) 한국디자인사학회 2021 Extra Archive: 디자인사연구 Vol.2 No.2

이 연구에서는 일본 근대 도안교육이 성립되는 과정을 살펴보고, 교육방식을 기법적 측면과 내용적 측면으로 나누어 살펴본다. 한국 대학의 초기 디자인 교육자들이 공통적으로 일본 유학을 경험했기 때문에, 일본 도안교육의 실상을 파악하는 작업은 궁극적으로 한국 1세대 디자이너들이 남긴 작업 방식과 교육이념이 어디서 비롯되었는지를 알 수 있는 실마리가 되어줄 것이다. 일본에서 도안은 용어가 번역된 과정이나 매뉴얼로서 국가적인 지도 체계가 성립되는 과정 모두 처음부터 해외수출과 깊은 관계가 있었다. 1890년대에는 여러 미술학교에서 도안 교육이 실시되었고 1900년대에 이르면 그 체계가 거의 정비되었던 것으로 보인다. 초기 도안은 유럽인들의 이국취미를 만족시키기 위한 전통문양의 모사나 기교주의에 경도되었으나 자포니슴이 쇠퇴하고 1900년 파리 만국박람회를 계기로 만난 아르누보 양식에 큰 영향을 받아 교육 내용도 변화하기 시작했다. 영국을 중심으로 한 유럽의 자연을 사생하여 간략화하거나 변형하는 도안 제작 방법이 일본에 ‘편화’로 번역되어 디자인교육의 기본으로 오랜 기간 활용되었다. 한편 일본의 도안가들은 끊임없이 서구의 시선에 대응하여 정체성을 추구하며 그 발상의 원천을 고전이나 에도시대의 림파, 그리고 중국, 인도 등 다른 아시아 국가의 고대미술에서 찾았다. ‘편화’를 이용한 제작기법과 고전에서 정체성을 찾는 경향은 일본의 ‘미술’학교에서 도안교육을 받았던 한국 1세대 디자이너들의 대학 교육에서도 나타나게 된다. In this paper, I examine the establishment of modern Japanese zuan education, its methods and content. Zuan (圖案), the concept of design and production methods established in Japan, was imported to Korea during the Japanese colonial era (1910–45). Since the first generation of Korean design professors studied abroad in Japan, understanding zuan education has helped us clarify the origins of the work methods and educational ideologies of the first generation of Korean designers. In Meiji Japan, both the process of translating terms related to art and design and the process of establishing zuan as a national guidance were closely related to overseas exports. In the 1890s, design education was conducted at various art schools, and by the 1900s the system was fully developed. Zuan was focused on copying traditional patterns and craftsmanship to satisfy Europeans" exotic tastes. However, as Japonism declined and the Art Nouveau style became popular with the Paris World"s Fair in 1900, zuan education began to change. The European conventional method of making patterns by simplifying and transforming drawings from nature was introduced in Japan as benka (便化), and soon became the basis of design education. At the same time, Japanese designers constantly pursued their identity in response to Western perspectives, and found the source of their ideas in the classics: Rimpa of the Edo period, as well as ancient art of other Asian countries such as China and India. The tendency to find identity in classics and production techniques using benka was also shared and reflected in the university education of the first generation of Korean designers who received design education at art schools in Japan.

한국 근대 공예 연구사: 연구의 흐름과 전망

노유니아(Roh, Junia) 인물미술사학회 2020 인물미술사학 Vol.- No.16

최근 20년간 한국 근대 공예사 연구는 질적으로나 양적으로나 많은 성과를 이뤄냈다. 본고에서는 한국 근대 공예에 관한 연구의 흐름을, 용어와 개념, 제도와 기관(조선미술전람회, 미술품제작소), 장르별 연구 현황(도자, 금속, 옻칠, 자수) 순으로 살펴보고, 그 외에 주목할만한 동향으로 대한제국 황실 유물, 민예운동에 대한 연구를 검토할 것이다. 근대기에 회화-조각-(건축)-공예로 이어지는 미술 장르 간의 위계가 일본을 통해 정착됨에 따라 미술사는 회화사 위주로 서술되어 왔다. 유화나 조각이 명확하게 근대를 출발점으로 삼을 수 있는 것과 달리, 공예는 조선시대까지의 전통을 계승해야 하는 문제에서 자유롭지 않다. 전환기에 살았던 장인과 제작자들이 겪었던 혼란은 오늘날까지도 계속되고 한편, 이러한 현상을 읽고 분석해야 하는 연구자들에게도 영향을 미치고 있다. 또한 고고학적 연구나 양식사 연구가 주를 이루는 근대 이전의 공예사와는 달리 근대 공예사는 개념 연구나 제도, 생산 및 유통, 수용 등 작품 외적 요소에 초점을 맞춘 연구가 압도적으로 많았다. 그러나 근대에 대한 인식의 변화와 함께 컬렉션이 늘어나면서 앞으로는 작품 혹은 유물에서 출발하는 연구가 늘어날 것으로 예상된다. 공예라는 장르의 범위가 매우 넓고 그 범주를 정의하기가 모호하다는 점 때문에, 공예 연구 역시 어디서부터 어디까지를 연구 대상으로 삼아야 할 것인지를 정하기가 쉽지 않다. 학제간 연구가 활발해지고 물질문화와 생활사에 대한 관심이 높아지면서, 공예 연구의 위상도 커지고 있다. 근대 문화 전반에 대한 연구 성과가 축적됨에 따라 공예 연구의 진행도 빨라질 것으로 기대된다. Over the past twenty years, qualitative and quantitative research on the history of modern Korean crafts has grown exponentially. This paper examines research trends of modern Korean crafts, including terms, concepts, systems and institutions, such as Korea (Joseon) Fine Arts Exhibition, Craftwork Manufactory (Mi-sul-pum Je-jak-so). Also, it examines research status by genre: ceramics, metals, lacquer, and embroidery. Other trends to be noted here are studies on the imperial artifacts of the Korean Empire (1897-1910) and Japanese folk-art (Mingei) movement. During the Japanese occupation period, scholars introduced an artistic hierarchy, which originated in the West. It encompassed painting, sculpture, architecture, and crafts. Art history has mainly been researched through the medium of painting. Crafts have been undervalued and under-researched. Unlike oil painting that was introduced first during the modern era, crafts inherited the traditions of the Joseon Dynasty. The confusion that craftsmen and small manufacturers experienced during the transition period continues to this day. It also affects researchers who write about these issues. In addition, while archaeological and style historical studies dominate the research of pre-modern crafts history, the research of modern crafts has overwhelmingly focused on external factors such as conceptual studies, institutions, production and distribution processes, and public reception. However, collections of artifacts are increasing, as interest in the modern era has heightened. Thus, it is expected that research examining actual artifacts will increase in the future. The genre of crafts is wide and ambiguous to define. Therefore, it is difficult to determine areas of research. As scholars pursue interdisciplinary studies and become more interested in material culture and history of daily life, research on crafts increases. Research on crafts is expected to accelerate in parallel with the overall increase of research on modern culture.

심수관가(沈壽官家)가 갖는 역사적 의의에 대한 재고찰 : 메이지기 일본 수출도자 산업계에 나타난 사쓰마현상 을 중심으로

노유니아(ROH, Junia) 일본사학회 2021 일본역사연구 Vol.56 No.-

The Shim Su-gwan (Chin Jukan in Japanese) family in Kagoshima, Japan, which is Satsuma ware producer, has attracted attention from the media and scholars because it is the only abducted pottery maker family during the 16th century Japanese invasion of Korea which has kept their Korean last name and passed it on from generation to generation. However, most of the discussions focused on the national identity and identification of the first-generation ancestor. As a result, no full consideration was given to the family s pottery business and works. In this paper, I will re-examine the historical significance of the Shim Su-gwan family in the context of the industry of Japanese export ceramics in the early Meiji era. It was during the 12th generation (1835-1906) that the fame of the family was firmly established. Satsuma ware, which the Satsuma domain exhibited at the Paris International Exposition of 1867 independently from the Edo Shogunate, gained popularity in Europe and established itself as a key export item of Japonism. Interestingly, as Satsuma ware became widely popular in Western countries, the so-called Satsuma phenomenon occurred, in which Satsuma-style pottery was made under the name &Satsuma& throughout Japan, in Kyoto and Kanazawa, the production centers of traditional Japanese ceramics, as well as in cities adjacent to export ports such as Nagasaki, Kobe, Yokohama, and Tokyo, and then exported. In this paper, I focus on this Satsuma phenomenon and analyze the role of the 12th Shim Su-gwan at the center of the phenomenon. In particular, I investigate his activities as a manager and leader of Satsuma producers, which have up until now been overlooked. Furthermore, I point out the double hurdle for the Shim Su-gwan family of being from Kagoshima, Japan s southernmost region, and being a descendant of foreigners. Even today, the stigma of being the descendants of Korean potters and the role as the guardian of Koreanness exert an impact on the family. Moreover, people project the image of a modern artist onto Shim Su-gwan while overlooking the change in the position of ceramic production in the industry field. To understand the historical significance of the Shim Su-gwan family, we need to consider the Korean-Japanese modern history and the transformation of the concept of art since the modern period.

1910년 일영박람회 동양관의 한국 전시

노유니아(Roh Junia) 한국근현대미술사학회 2014 한국근현대미술사학 Vol.28 No.-

This research examines the Korea section of the Palace of the Orient at the Japan-British Exhibition of 1910. To date, the arguments on images of colony Joseon as a propaganda of Japanese Empire have focused only on domestic exhibitions and media in Korea and Japan. However, it is also important to know how Japan presented other countries onto the turbulent world stage at that time. The Japan-British Exhibition of 1910 isa key to understand this because Korea was in the process of being appropriated as a Japanese colony during the six months of the Exhibition in London. By comparing official guides and catalogues in English, official reports published in England and Japan respectively, newspapers in Britain and Korea, photographs and museum’s collection, it was discovered how the Japanese government presented the colony of Korea in London. Japan used the Japan-British Exhibition in order to justify her rule over Korea because it was the first exhibition to show Korea as a Japanese colony to the world. The Japan-British Exhibition was no longer than six months, but the influence of the propaganda strategy lasted far longer. The image of the colony of Korea was reproduced, re-used, and spread through souvenir albums, and major museum collections to the present day.

건칠공예에 대한 재고(再考)

노유니아(Roh Junia) 한국근현대미술사학회 2017 한국근현대미술사학 Vol.33 No.-

The dry lacquer technique of Korea was widely influenced by Japan during the colonial period, but it is now regarded as a new tradition in Korea. This is evidenced by recent purchases made by the British Museum and the Victoria and Albert Museum (V&A) for their Korean collections. Attention In Korea, however, does not focus on the dry lacquer technique, but focuses only on the fact that reputed museums purchased the works of contemporary artists. An understanding of the dry lacquer technique is so seriously lacking that its technique is still often described without any distinction from the mother-of-pearl inlaying technique. In this paper, I will reexamine the history and technique behind often-misuderstood dry lacquer. I will examine its developmental history and the unique features of the dry lacquer technique in Korea. In addition, I will analyze the propagation of this technique, inluding how it spread due to Kang Changgyu, who studied at the department of lacquer art at the Tokyo Art School. I will follow with how this technique became a representative technique for the modern lacquer craft in Korea. I will investigate the connections found in the hierarchical order between genres, an order that exists according to technique and cultural properties issues. The dry lacquer technique has a long history in Korean peninsula. Nevertheless, the technique which was produced in Korea after the modern era has no significant relationship with the period before the Joseon Dynasty. Through Kang Changgyu’s performance at the Joseon Fine Art Exhibition, people began to understand the technique as a form of modern art, and it started to spread through college education and national competition until it became a representative technique among modern lacquer art techniques.

이완석과 한국민예품연구소

노유니아(Roh, Junia) 인물미술사학회 2023 인물미술사학 Vol.- No.19