일제강점기 야나기 무네요시의 ‘민예’ 론(1) : ‘민예’의 탄생과 민예운동의 시대적 배경

신나경 한국춤문화자료원 2005 춤과 지성 Vol.2 No.-

죠수아 레이놀즈의 영웅적 초상화에 있어서 모방과 상상력

신나경 미술사학연구회 2008 美術史學報 Vol.- No.31

Joshua Reynolds, the first President of the Royal Academy and prominent portrait painter, advocated, in his book entitled Discourses on Art, a theory about ‘Ideal Beauty’ which was a classical theory of art. That is to say, he argued that art should have intellectual and moral grandeur by emphasizing that the purpose of art is enlightenment. Thus, he set a hierarchy in the genre and style of painting. He thought little of portraits and landscapes in that they were mere imitations of nature, while he regarded historical paintings as the highest form of painting which aimed for idealization. But as Reynolds himself worked as a portrait painter making a portrait that were regarded as the low form of art, compared to historical paintings in those days, it has been criticized that there was a discrepancy between his theory and practice. This paper seeks to examine his position on theory and practice based on the analysis of some of Reynolds’ major portraits, and probe how some important concepts in his art theory such as imitation, nature and imagination were applied in an eclectic manner in his so‐called ‘heroic portraits’. Reynolds was a portrait painter that were regarded as the lowest form of art during the time, but he had a strong passion for grand historical paintings. Therefore, he recommended that students draw grand historical paintings as a leader in the artistic circles and educator, and he also applied the principles of representation of the grand style to his portraits. The examination of portraits to which Reynolds applied the principles of representation of the grand style, namely, heroic portraits, reveals that they can be categorized into three types. The first type is a method of raising the natural status of models with the use of emblems that are generally known. It is Reynolds’ unique way of imitation, widely known as ‘borrowed attitude’. This type of paintings can not only impart a sort of dignity to actual models as the models’ costumes or postures reminds spectators of the originals, but it can show the humor and tact by expressing the intended meanings metaphorically through the originals that are already well‐known. The second one is the use of allegory and emblem. Here, Reynolds tries to represents ‘the mystery’ about the greatness of the hero by describing the characters of myths and prophets in the Bible mainly as children and showing the hero ‘in statu nascendi’, instead of obscurity and fulfillment. That is to say, it tries to leave the element of imagination to the spectators. The last one is the painting that describes playfully through physiognomic resemblances of girls and animals. Through these paintings, we can get a glimpse of the romantic aspect of Reynolds who concentrates on a unique world by describing similarities between animals and girls instead of the idealization of nature. And here, although we cannot see the dignity or the image imparted raising the model above the reality that he expressed earlier, but we can imagine similar images, through association, from the faces of girls similar to the expressions of animals. In conclusion, these portraits by Reynolds have it in common that they reminds require from the spectators images of grandeur or images that the painter intended based on the actions of association, namely imagination from the association of ideas. And I think that those portraits of his, on the contrary, reflect his theory about the representation of the grand style very well.

로컬언어와 민족문화

신나경 대한일어일문학회 2010 일어일문학 Vol.46 No.-

민예론의 수용양상과 민예의 미적가치

신나경 대한일어일문학회 2015 일어일문학 Vol.66 No.-

In the case of Korea, most studies on Yanagi Muneyoshi have been centered on his folkcrafts theory from the perspective of Joseon art. They interpret his theory mostly by linking it to the political ideas under colonial rule. Approaching the theory with the colonial view of history or with Orientalism, however, should not be regarded as a single step forward from the criticism, which swept the 1970s, of “the beauty of sadness” or “environmentalism” of Muneyoshi. Some studies view his Joseon Art Theory on a positive note, but in most cases, they are trapped in the boundary of Joseon art and fail to make a more in-depth discussion from a different point of view. In contrast, active discussions have been made in Japan over Folkcrafts Theory by Yanagi Muneyoshi as a thought of craft that challenged the western view of art introduced into Japan in the early modern era. They try to identify the generally-accepted thought of art or concept of craft in his times, and compare the outcomes with his thought of art for analysis. Through his folkcrafts theory, they noticeably end up diagnosing the modern world of art. Building a correct view of history itself is important. However, in order to better understand the concept of craft in his times, Korean scholars should adopt more various factors. By considering, for example, then the western view, the thoughts of art in the modern era of Japan, and how the concept of Korean art and craft was established in the corresponding period, a more objective critique on the thought and practice of Yanagi Muneyoshi can be drawn. Only in this way, his folkcrafts theory will be recognized as a new form of challenge requiring more vibrant and critical discussions.

우타가와 구니요시(歌川国芳)의 우키요에를 통해 본 에도시대의 골계와 풍자

신나경 한국동양예술학회 2023 동양예술 Vol.58 No.-

Until now, the works that have received the most attention in the ukiyo-e genre have always been landscape paintings and flower and bird paintings, which were the main interests of the Guanhwa school. However, the genre of ukiyo-e, which was loved by the common people, was not limited to these beautiful landscapes and customs, but there were countless types of paintings. Among them, various types of 'play pictures' and 'yokai paintings' are attracting the attention of modern Japanese people. Edo’s “play paintings” are rich in variety, showing an innumerable world of play through paintings. Pictograms show the joy of finding hidden characters or the fun of modeling. Also, as a combination of pictures and letters, hanji (enigma pictures) that match the meaning of language, collective pictures that form a separate large object when small figures or animals are gathered together, and shadow pictures, etc., banquet artistic The diverse world of form description is the world of 'play painting' in ukiyo-e. And in the ukiyo-e world of playful play paintings, Utagawa Kuniyoshi was the person who occupied an unrivaled position. On the other hand, bizarre paintings and ghost paintings are associated with Kabuki and images in traditional literature, and have been dealt with countless times in ukiyo-e. There were many works that gave a strong impression with a kind of unique aesthetic sense, but Kuniyoshi occupies an unrivaled position in these yokai paintings. In other words, his yōkai painting was loved by many common people in Edo as a satirical painting that applied the joys and sorrows of the common people or criticism of the powerful to the relationship between the yokai and warriors described, beyond just depicting yokai that were dealt with in traditional literature. In this study, paying attention to his free expression based on his ingenious imagination, he applied the humor developed in the history of Japanese painting from ancient times, the world of caricatures, cartoons, and satirical paintings of Edo, various play pictures, In addition, paying attention to the bizarre ghost paintings, etc., the world of unique aesthetic consciousness revealed in Kuniyoshi's ukiyo-e was defined as the characteristics of skeleton and satire, and tried to reveal its nature. It is thought that play drawings using playful games and tricks, graffiti paintings as satire, and yokai paintings could do well to reveal the 'Humor' as an aesthetic category of Japanese aesthetics at the time, rather than their significance as civil customs edification. And the humor shown in Kuniyoshi's ukiyo-e remains deeply rooted in Japanese culture despite being influenced by modern Western culture, and is still handed down as a lubricant and wisdom for common people's lives in Japanese cartoons, animations, and modern Japanese art that we see today.

일본 민예운동의 전개와 갈등을 통해 본 야나기 무네요시의 공예관

신나경 한국춤문화자료원 2006 춤과 지성 Vol.3 No.-

야나기 무네요시의 민예운동과 내셔널리즘

신나경 한국일본학회 2009 日本學報 Vol.78 No.-

本稿は民芸運動の理論と実践に基づいて、柳宗悦のナショナリズムを考察しようとするものである。 柳は東洋と西欧、日本と他国が各々の違う面をお互いに尊重する時のみ、真の国際主義は到来すると思った。したがって日本的なものを主張することこそ、世界により高次的な調和を齎すものだと信じていた。そのような柳の<日本>ないし<日本的なもの>に対する強調はおもに民芸や仏教的原理を強調するときに提示され、文化的な面で強調された<文化的ナショナリズム>の形として展開された。しかし1955年以後の文章では日本人の中に内在する美意識の優越性を主張する論調が屡々現れており、特に「日本の眼」という論考ではエスノセントリズム的視点が強く見られる。このような彼の思想的変化は、ナショナリズムに内在する<文化性>と<政治性>を完全に分離することは難しいし、仮に分離することができるとしても、<文化的ナショナリズム>もやはり一種のナショナリズムであって、それが強くなった場合には本来そこに内在していた<平等主義>は釣り合いを失ってしまうことを示している。

공예의 기능과 미적 표현에서 추상의 문제: 오브제도예를 중심으로

신나경 미술사학연구회 2010 美術史學報 Vol.- No.34

This study is to look into the development process of modern 'ceramic object' whose principal expression is abstract, and to review the problems of abstractionism in the function and aesthetic expression of crafts based on the flow of new formative crafts. Since about 1945, one of the important phenomena which appeared in ceramic art is the phenomenon in which pottery work as pure cubic three-dimensional sculpture beyond the form of vessel which has a certain use is made, namely is raising head of abstraction phenomenon. Experimental modern technologists devote themselves to the pattern of the modern art so called change of aesthetic consciousness and abstraction like these and began to change into artists who are looking for their ego in the change of time and society. Therefore, today's modern ceramic art is showing various aspects including practical vessel, sculpture, painting, objet, installation and environmental ceramic, and omission of firing process itself which can be called the basics of the ceramic art. Actually, it can be seen that the craft in expression style began in the abstract form from the beginning unlike pure painting or sculpture. If pure abstractionism is the modern expression style departed from classicism which pursued the imitation of the nature, abstraction only has different concept and is basic expression pattern which has lasted since primitive age until today. It is because the ceramic art from early age transformed the nature into simple pattern and abstracted it rather than realistically mimicking the pattern of the nature. But in general when we say 'abstract ceramic art' in the modern ceramic art, we mainly think of ceramic object which was born under the influence of Abstract Expressionism as a special aspect of 20th century art. It is because by their bravely giving up the function in the equation <craft = function + beauty> which has been carved in us familiarly as essence of crafts, it is formally showing tendency of sculpture and also in the formative thought and spiritual concept demanded by creation shows pure artistic aspect like painting and sculpture. In fact, in the modern ceramic art the concept of object has a little different meaning from the concept used in art. It looks like, as crafts and art are divided, object also grew to have difference. After World War II the word object which was frequently used in crafts community especially in ceramic art community means today's ceramic work with strong formative element, namely cubic three-dimensional formative work which potter made with clay. It is the work excluding usefulness and what is expressed by creativity and free will of the artist intrinsically unlike the past decorative pottery. However, the problem of abstract formative element of modern ceramic art like this colliding with the problem of usefulness which has been recognized as the essence of crafts is causing continuous controversy. It is because such abstract sculpture which is by and large called 'objet ceramic art' by denying the concept of crafts which has been traditionally recognized induce fundamental question "Is it indeed craft?". Nevertheless, if we look at the today's art serenely, objet is already universalized, and that complex and combined experience of art space is inevitably explored is time's trend of the present art world. Accordingly, artists who rather want to become craftsmen who are faithful to tool experiences, that is, craftsmen who are good at handling videos or computer or metal or animation and put idea into those as technical experts become a lot. In such times, it looks like the problem of abstraction in the function and aesthetic expression of crafts, is not a field of the argument which should draw a boundary line as a logic which questions if that is the pure art or craft, but rather it should be possessed by both the artists and consumers who will enjoy it as the field of experience in which they explore and enjoy to an infinite de...

일본의 문인화개념과 요사부손(与謝蕪村)의 예술세계

신나경 한국동양예술학회 2009 동양예술 Vol.14 No.-

이도다완(井戶茶碗)을 통해 본 일본인의 미의식과 조선관(朝鮮觀)

신나경 한국동양예술학회 2022 동양예술 Vol.55 No.-

본 연구는 일본의 국보인 이도다완을 통통해 일본인들의 조형에 관한 감성과 미의식을 살펴보고, 그러한 미의식과 일본인의 대조선관은 어떻게 관계하는가를 살펴보고자 하는 것이다. 이 논문에서는 이도다완의 계통적 분석을 밝히기 위하여 그 종류와 유래를 고찰하고 그것을 바탕으로 이도다완의 특징과 그것에 대한 일본인의 미의식을 알아보고자 한다. 그리고 그러한 미의식을 바탕으로, 이국 문화의 산물을 예술로서 경외하는 것과 그 나라에 대한 인식이나 선입견과는 어떻게 관계하는지를 살펴보고자 한다. 이도다완의 특징은 대개 비파색으로 불리우는 색인 갈색을 띠는 유약에다 비교적 높은 굽을 가진 다완으로서, 소박하고 단순하면서도 당당하고 기품이 있어 우리나라는 물론 중국과, 일본의 다완을 통털어 최고의 다완으로 평가받아 왔다. 특히 일본인들이 중요시 하는 매화피는 그릇 굽 부분에 유약이 흘러내려 우연적으로 생긴 조형적 결과물이다. 일본의 다도계에서 이와 같이 무로마치 이전에 유행하였던 중국의 텐모쿠 다완과 같은 화려한 다완에서 흔히 볼 수 있는 뛰어난 기교보다는 매화피와 같이 우연적으로 생긴 조형적 아름다움이나, 돌출된 높은 다완의 굽바닥에서 느껴지는 안정감과 당당함, 그리고 흔히 볼 수 있는 색이면서도 은은하게 가라앉은 차분한 비파색 등에 매료되었다고 생각된다. 그러나 일본의 조선예술에 대한 경외심과 조선관은 결코 긍정적인 측면으로 비례했던 것은 아니었다. 일본의 조선인식의 기본틀에는 조선문화가 선진적이라는 문화적 열등감과 반면 『고사기』, 『일본서기』에 의해 조선을 조공국으로 보는 우월감이 병존하고 있었다. 그리고 그러한 조선관은 16세기 조선에서 건너온 고려다완의 아름다움에 지극히 경탄하면서도, 소위 도자기 전쟁으로 일컬어지는 임진왜란을 일으킨 것과 무관하지 않다고 보아진다. 그런 의미에서 에드워드 사이드의 오리엔탈리즘과는 그 상황과 결에서 다르기는 하나, 한 민족의 예술의 우수성과 그것을 만들어 낸 민족에 대한 관념은, 반드시 일치하는 것은 아니며, 오히려 물리적인 힘의 균형을 잃을 경우에는, 매우 불완전하고 불균형적인 시각을 가져올 수 있다고 생각된다.