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권행가 한국근현대미술사학회(구 한국근대미술사학회) 2019 한국근현대미술사학 Vol.38 No.-
The present paper focuses on the embroidery artist Sun-hee Jang and the Chosun Women Crafts Institute that she managed for around forty years, aiming to analyze the relationship between embroidery and women art in the modern period. After Sun-hee Jang graduated Jeongshin Women’s High School, established by a female missionary of Northern Presbyterian Church, she worked as an embroidery teacher in the same school. In 1919, she was imprisoned for two and a half years for independence movement against Japanese colonialism. While in prison, she taught fellow female prisoners crafting techniques such as embroidery and sewing, and this experience led her to recognize the necessity to provide professional education for women. For Jang, the embroidery was not an easy alternative for the balance between work and home. She believed that the monetary self-reliance of women could contribute to the political independence of the nation. Hence, teaching embroidery was equivalent to the education movement for women’s independence. At the time, the embroiderer became one of the professional jobs for the middle-class women, along with journalist and nurse, as the demand for embroidery increased in the modern crafts industry. Embroidered cushions, Western interior ornaments, framed artwork, aprons, handkerchief, bridal veil, fashion accessories and many other types of products met the consumers’ taste, especially the Modern Girls. The activity of Sunhee Jang as a craft educator, therefore, expands we should view the relationship between modern women and art from craft as art to the multi-layered context of crafts industry which includes commercialization of craftwork, export market, and the conceptual transformation of embroidery.
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권행가 덕성여자대학교 인문과학연구소 2019 인문과학연구 Vol.0 No.29
Little female artists are acknowledged in Korean modern art history. This is, for the most part, because of more than 80% of Korean overseas students who studied at Joshibi University of Art and Design majoring in embroidery. Within the education system that raises good wives and wise mothers, women chose the embroidery department as a compromise to be able to operate in the public sphere without any violation of the traditional feminine image. After graduation, some became teachers while the others exhibited their works in the craft section of Chosun Fine Art Exhibition. However, becoming an artist was nearly impossible for them as the hierarchical order between genders existed within the craft art sector, let alone the hierarchical distinction between high art and craft art. After the Korean War, in South Korea, the embroidery department had been independent in newly established women’s art college only until 1981, when it was incorporated into textile art and practically lost the meaning and function of its existence. On the contrary, the embroidery was settled as a representative genre of socialist realism craft since the liberation under the strong intervention of the state in North Korea. From the Chollima period to today’s Mansudae Art Studio, embroidery has been developed both as a major exporting product and a means of political education. While embroidery artists in South Korea are forgotten in the art world, embroidery artists in North Korea have become successors of the noble anti-Japanese revolutionary tradition and to revolutionary female heroines. As Kim Jong-Suk’s myth was modeled since the 1970s, embroidery has become a representative example of Kim Jeung-suk’s anti-Japanese activities, as well as an honorable tradition to be followed by women. Nonetheless, there still exists the dichotomy between the creator and the craftsman based on gender. In the North Korean art world, although craftsmen are credited as People’s artists, the reason behind female artists being concentrated only in the embroidery sector is closely related to North Korea’s gender ideology that demands the dual role of a revolutionary worker and a woman who completely internalized the patriarchy. 한국근대미술사에서 여성미술가는 극소수에 불과하다. 그 이유는 동경 여자미술학교 유학생의 80% 이상이 자수과를 졸업했기 때문이다. 현모양처교육체제 속에서 이들은 전통적 여성상에 위배 되지 않으면서도 공적 영역에서 활동할 수 있는 타협점으로 자수과를 선택했다. 이들은 유학 후 여교사가 되기도 하고 조선미술전람회 공예부에 작품을 출품하기도 했다. 그러나 고급미술과 공예 간에 존재했던 위계 질서 뿐 아니라 공예 내에서도 존재했던 남녀간의 성별화된 위계질서라는 이 중의 위계질서 구조 속에서 이들이 미술가로 자리잡기는 어려웠다. 한국전쟁 이후 남한에서는 여자미술대학의 설립 초기에는 자수과가 독립된 과로 존재했으나 1981년 이후 섬유예술로 편입되면서 실질적으로 그 의미와 기능을 상실했다. 반면 북한의 경우 해방 직후부터 국가의 강력한 개입 하에 사회주의적 사실주의 공예의 대표적 장르로 자리 잡았다. 천리마시기부터 현재의 만수대 창작사 수예창작단에 이르기까지 수예는 주요 수출상품이자 정치적 사상 교양 수단로 발전되어왔다. 남한에서 자수가들이 미술계 내에서 잊혀진 것에 반해 북한에서 의 수예가는 고귀한 항일혁명전통의 계승자이자 혁명적 여성 영웅의 계승자로 자리잡았다. 1970년 대 이후 김정숙의 신화만들기가 진행되면서 수예는 김정숙의 항일활동의 대표적 예이자 여성들이 따라해야 할 고귀한 전통이 되었다. 그러나 창작가와 기능인 사이에 젠더에 기초한 이분법적 구도 는 여전히 엄존하고 있다. 북한미술계에서 수예가들이 인민예술가가 될 수 있을 정도로 사회적 인정을 받는 반면, 수예부문에만 여성미술가들이 집중된 이유는 혁명적 노동자이자 가부장적 위계 질서를 내면화한 여성이라는 이중의 역할이 요구되고 있는 북한의 젠더 이데올로기와 밀접한 관련 이 있다고 할 수 있다.
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컬렉션, 시장, 취향: 이왕가미술관 일본근대미술컬렉션 재고
권행가 국립중앙박물관 2015 미술자료 Vol.- No.87
The creation of an art collection is affected by a number of factors such as political and economic power, aesthetic value, and art market, etc. Many have pointed to the association of the Modern Japanese art collections of the Yi Royal Family Art Museum with power, imperialism, and colonization. This article aims to reflect on the Modern Japanese Art Collections at the Yi Royal Family Museum of Art from the perspective of their relationship with the contemporary art market. Japan tried to establish its first modern art museum in Seokjojeon which is located in Duksu-gung Palace, one of the palaces of Joseon Dynasty. The fundamental reason why Japanese did not exhibit the art works of Joseon but the ones of Japanese artists was to enlighten the colonial Joseon of the sophisticated Japanese modern art. The other reason was that they needed a modern art museum to show their rich cultural heritage of Japan to visitors or foreigners, as there wasn’t any yet until 1940s. However, at the outset, the Museum of Art lacked exhibits to fill its empty walls. Thus, most of the exhibits were lent from Japan to be put on display for a specified period of time, and some of them were purchased by the Yi Royal Family Office and Prince Yi Eun himself. However, the influx of modern Japanese art collections into Joseon in such a massive scale was unprecedented. More importantly, an amount equivalent to half of what the Yi Royal Family Museum at Changgyeonggung Palace spent annually to purchase artwork, mainly ancient works of Joseon, was spent on purchasing modern Japanese pieces. This attests to the fact that the House of Yi was focused on expanding the modern Japanese art collections. Therefore, it is an oversimplification to claim that the Modern Japanese art exhibition was designed solely for the development of the contemporary Joseon art scene. The imported pieces did not just help to stage the Exhibition at Seokjojeon, but they also led to the increase in solo exhibitions of Japanese artists and the sales of their works within Joseon. While some Joseon artists acknowledged that Japanese art could not but occupy the center stage in such a dynamic, others responded by striving to build the identity of Joseon art through delving into the issue of creativity and imitation and studying antique Joseon art pieces exhibited next to modern Japanese art. They also placed a focus on increasing the exhibitions of contemporary artists in Joseon and the sales of their works. In short, the Modern Japanese art exhibition was the epicenter of the struggle of the Joseon art world to survive and to search for its identity through recognizing and defying Japan's influence and finding creativity through imitation throughout the 1930s and 1940s.
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