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글로벌시대에 있어서 동양예술의 의미재고 -전통예술의 매체융합을 중심으로
신나경 ( Na Kung Shin ) 한국동양예술학회 2011 동양예술 Vol.17 No.-
Under today’s circumstances where international arts exchanges have been more active than ever, this paper examines the meaning of ‘globalization’ and various aspects of modern art, particularly visual art, focusing on how oriental traditional art can be integrated with newly emerging art media, and reviews the meanings of today’s oriental art. The modern art world has been characterized by consilience and integration, glocalism trends, diversified phenomena, and commercialization of art, super-realm phenomena transcending the East and the West. However, such situations do not mean the equal footing of the East and the West in the art world. Despite the fact that the regional differences and regional discrimination in art are clearly not the matter of center and border areas or the matter of domination and subordination, the center and border area undoubtedly exist in the art world. The ‘art history’ of Europe is basically ‘western art history’, a field of study derived in the 18th century, but the norms of ‘western art’ that have been promoted from there have been transformed into the ‘universality’ of art and globalization, dominating the borderless modern art criticism. Under the guise of standing for ‘purity’ in art, the concept of ‘fine arts’ that was derived from the West has been positioned in the center and the oriental art that has far richer repository in so-called applied arts have been downgrading. Accordingly, the future oriental art should be the one that is not easily eroded by the logic of international capital that is crouching in the backgrounds of monocultural system and should be the art that is not easily satisfied with the framework of schematized orientalism in the West through exaggeration strategies of oriental images. In other words, the oriental art of today where ‘local’ and ‘global’ are bound to be connected must accept the task of the times to solve the two problems simultaneously-to disseminate the identity of the orient and to adopt global universality. And necessarily it should be connected with exploration of modernizing the oriental art. In this sense, Chinese water-ink animation in the use of the original ink paintings and ‘samulnori’, Korean traditional percussion quartet, is very suggestive in that it inherits aesthetics inherent to oriental art and ethnic tradition in its inner side while using modern technology.
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