중국의 유학파의 미술교육과 활동에 대한 연구

장준석 한국조형교육학회 2005 造形敎育 Vol.0 No.25

Lin Fengmien(林風眠) travelled to France in 1919, where for the six month he studied in Dijon. In 1920 he entered the Ecole des Beaux Arts in Paris. The study abroad scheme was proceeding well and in May 1924 a Group of Chinese students including Lin Fengmien held an exhibition in the Palais du Rhine in strasbarg. Cai Yuanpei(蔡元培) is a man of foresight to contemporary education of Chinese. Lin and Cai, this two man also acknowledged to succeed for Chinese art-education, insisted to introduced Western painting. But their's insistence had many problems. They pursuit to harmony western painting to Chinese painting. They wish to Chinese painting glories. Bei-Hong, Xu(徐悲鴻) was also one of the best Artist in China. He interested in western art techniques, and studying hard and meeting with contemporary Western artists. He studied to drawing of Western Art and thought that the Chinese art-education is changing to drawing. Maybe, When studying in France Xu absorbed creative ideas from the Impressionist and Realist, creating a kind of painting with strong abjective romantic appeal. Because Xu violated that Chinese painting has very old tradition. Besides he ignored that Chinese painting differs from Western painting in many respects. In this a point, Xu's insistence was lost of persuasiveness. Lin Fengmien and Hsu Pei hong was income the educational work and study of art abroad. These two artists on their returned to China were given great power in the direction of art education policy. Before 1949 they were primarily responsible for the path of Chinese art, and there by responsible for the introducing western influence into Chinese art of this century. The one skill all were agreed upon that drawing from life and sketching from nature should be the priority.

20세기 프랑스의 종교 회화와 한국의 종교 회화 연구 - 루오(Georges Rouault) 와 김학수(金學洙)를 중심으로

장준석 유럽문화예술학회 2015 유럽문화예술학논집 Vol.6 No.2

Georges Rouault is taking an interest in the early 1900s, Christianity and Catholicism, which st따t to go Europe of the Christian world, and integrated into their culture and religion and improves naturally, but w ith the Unlike Christianity and Catholicism in Korea itself is fundamen tally different roots. Georges Rouault is Christian in 1913, the philanthr opic spirit and humanity is strong, started to paint in earnest for a pai nting began to attract attention. Compared to Christianity in Korea her e 따t is a situation doesn't started yet. In the early 1900s, artists in K orea at the time of a Christian, westem 따t, 따t stars finally began to open my eyes to education and becoming Chinese in oriental paintings of old customs that seems to imitate. So absorbed or ahead of a p따t of the artists as a focal point who had played a lot of effort to get ou t of here 파‘e dark period of time. A devout Catholic, and ordinary peo ple, Georges Rouault is God in his paintings related to religious spiritu ality had been wanting to occupy the space. This is, perhaps a confess ion that must have been on the human anguish and that he had thoug ht to ask yourself if don't know. He is the working poor, sweet cheek s, Jesus, Jesus and so on the theme digest, but everyone is creative a nd attending distinctive pieces. Georges Rouault like a prostitute or poorer people and a clown, vario us conditions, and to draw characters in situations that are embedded i n it, Christian, contrary to what, though, that the truth, Kimhaksu of p aintings, as well as in the multiple environments for wind speeds of characters in the absolute nature of God the creator and intemal latent in praising the glory of God. The clattering sound of soul in a picture to capture the changes that. Went boldly into canvas. the lifestyle of S outh Korean traditional Kimhaksu Of course, that is Christian and land scape as a style unique, with only a skeletal to go there and originalit y. This is a Christian way of life for being young, irrelevant and not spiritual. Kimhakssu of christianornical art is really ingenious and religious soul like Luo of a picture that have been ringing for in retum for an out-o f-court settlement. 20th century Westem Christian representative paint ers of the Rouault and at the same period of time at the center of Chr istian art in Korea. it’s fortunate is that there is an artist called Kimh aksu.

토론 2

장준석 충북연구원 1999 충북발전연구원 학술세미나 Vol.- No.-

중국근대 미술교육에 있어 서양화풍의 유입에 대한연구

장준석 한국조형교육학회 2002 造形敎育 Vol.0 No.19

A study about influx of the west painting style to art education of modern China. Chang, Jun Seok Lin Fengmien(1900~1991) and Hsu Pei hong(1895~1953) was income the educational work and study of art abroad. Lin Fengmien travelled to France in 1919, where for the six month he studied in Dijon. In 1920 he entered the Ecole des Beaux Arts in Paris. The study abroad scheme was proceeding well and in May 1924 a Group of Chinese students including Lin Fengmien held an exhibition in the Palais 여 Rhine in strasbarg. Hsu was award a palace on the educational work and study course abroad. he travelled to Paris in March 1919. In April 1927, having spent eight years in Europe, he return to China. During those eight years he had formed no good opinion of Impressionists and openly said so. Hsu had returned to China with firm views that drawing was the foundation of painting, and set about constructing his curriculum along those line. his own preference remained for 19th Century Academic painting. Some years later he was to take up the Chinese brush again. These two artists on their returned to China were given great power in the direction of art education policy. Before 1949 they were primarily responsible for the path of Chinese art, and there by responsible for the introducing western influence into Chinese art of this century. The one skill all were agreed upon that drawing from life and sketching from nature should be the priority.

中國 近代 美術敎育에 있어 西洋畵風의 流入에 대한 硏究

장준석 한국조형교육학회 2002 造形敎育 Vol.0 No.19

Lin Fengmien(1900-1991) and Hsu Pei hong(1895 -1953) was income the educational work and study of art abroad. Lin Fengmien travelled to France in 1919, where for the six month he studied in Dijon. In 1920 he entered the Ecole des Beaux Arts in Paris. The study abroad scheme was proceeding well and in May 1924 a Group of Chinese students including Lin Fengmien held an exhibition in the Palais oi Rhine in strasbarg. Hsu was award a palace on the educational work and study course abroad. he travelled to Paris in March 1919. In April 1927, having spent eight in he return to China. During those eight years he had formed no opinion Impressionists and openly said so. Hsu had returned to China with that drawing was the foundation of painting, and set about constructing his curriculum along line. his own preference remained for 19th Century Academic painting. Some years later he was to take up the Chinese brush again. These two artists on their returned to China were given great power in the direction of art education policy. Before 1949 they were primarily responsible for the path of Chinese art, and there by responsible for the introducing western influence into Chinese art of this century. The one skill all were agreed upon that drawing from life and sketching from nature should be the priority.

중국 고대 회화미학에 나타난 미술비평에 대한 연구 - 춘추전국, 위진남북조, 당 시대를 중심으로 -

장준석 한국기초조형학회 2016 기초조형학연구 Vol.17 No.3

China's ancient Art critics requires high quality of humanity and nature. It started paintings by gentleman scholar and deep philosophes tasteless and uninterested. It is very important of Chinese's Art critics, Aesthetics, Philosophies and literatures. China's Art critics was consist of the Shìqì(士氣) and yìqì(逸氣). It could be evaluated as the highest level artistic condition which has continuously been thought in the realm of aesthetics. Also it was developed into one of the critics to ancient Chinese painting ideal and skills. And critics was admired as the best Aesthetics conception of Táng(唐) dynasty. By then it had been developed as a type of good Art critics. So it was very elegance and nobility and delicious. Paintings of China reflect dispositions and mobility of classical scholars and critical perspectives on works although there was no such term as art critique at that time. In view of formative aesthetics, critical paintings of China reflecting the literary spirit of classical scholars started with Gù,kǎi-zhī(顧愷之), who advocated art critic during the Wei-Jin and South-North Dynasties according to 『Lìdàimínghuàjì(歷代名畵記)』 of Zhāng,yàn-yuàn(張彦遠). Thereafter, art critiques and theories of Gù,kǎi-zhī(顧愷之), Táo,yuān-míng(陶淵明), Zhāng,yàn-yuàn(張彦遠), Cáo,Zhí(曹植), Sī,Kōng-tú(司空圖), and Xiè,hè(謝赫) brought in significant influence on painting critiques since the Táng(唐) Dynasty. In particular, during the periods of Chūnqiū(春秋), Wèijìn(魏晉), Táng(唐), various art theories emerged with interests in literary men’s paintings, and attempts for artistic philosophies were made actively. Accordingly, art theories and critical perspectives came to hold a greater position in the context of artistic thoughts. As such, examining the perspectives of art critiques reflected in Oriental paintings and the base of artistic philosophies is examining the mentality of classical scholar artists and the focus of critiques reflected in their paintings. In addition, this will be a way of examining and analyzing the development of Oriental paintings and aesthetics of paintings in art-critical perspectives. Indeed, such critical perspectives affect Sòng(宋), Yuán(元), M̌íng(明) directly or indirectly, and thus this study is of significance in that it helps more specifically and systematically analyze and criticize, Oriental ancient paintings that reflect the mentality of literary men, which have been understood vaguely. 현존하는 중국의 문헌자료들을 근거로 살펴볼 때 중국 회화미학에 대한 자료 가운데 가장 연대가 올라가는 것은 춘추전국시대라 할 수 있다. 이 시대의 가장 대표적인 회화미학 사상은 공자, 맹자, 노자, 장자, 한비자 등이 기록한 다양한 철학과 미학이다. 이들이 분석한 여러 회화미학과 직간접적으로 연관이 된 자료들은 회화 비평의 중요한 이론적 기초가 되었다. 소위 제자백가(諸子百家) 시대에 백가(百家)가 쟁명(爭鳴)하는 철학이 형성되면서 자연스럽게 회화미학과 미술비평이 맹아(萌芽)하기 시작하였다. 그러나 아쉽게도 이때는 미술 이론과 미술비평이 개념적으로 틀을 잡지 못한 시기이다. 미술비평이 본격적으로 시작된 때는 동진(東晋)의 지식인 화가였던 고개지(顧愷之)가 출현하면서부터이다. 고개지는 전신(傳神)을 기조로 미술비평의 이론적 기반을 형성하여 주었다. 이 무렵 유소(劉邵), 완적(阮籍), 도연명(陶淵明) 등이 출현하면서 보다 폭넓은 미술비평의 기반이 형성되게 되었다. 특히 도연명의 은일주의적 삶이 반영되면서 미술비평은 보다 새로운 전기를 맞게 된다. 그 후 사혁(謝赫), 종병(宗炳), 왕미(王微) 등이 출현하면서 미술비평의 관점이 더욱 넓어지고 산수화와 미술비평에 대한 관심도 늘어났다. 唐代에 들어와서는 한편으로 불교와 선사상이 확산되면서 사공도(司空圖)와 같은 불가적 문예사상이 형성되어 북송대에 수준 높은 미술비평이 전개되는 데 큰 도움이 되었다. 그리고 훗날 명대 동기창(董其昌)이 남북종론을 주창하며 수묵화의 시조로 내세운 왕유의 문기어린 이론들이 등장하면서 미술비평은 더욱 수준 높은 단계로 접어들게 되고 이사진(李嗣眞)이나 장회관(張懷觀), 주경현(朱景玄)과 같은 훌륭한 미술 비평가들이 배출되었다. 본 연구는 이러한 부분을 중국 회화 이론에서 고찰하여 분석하였다.

徐悲鴻의 美術敎育思想에 대한 硏究

장준석 한국조형교육학회 2001 造形敎育 Vol.0 No.18

Bei-Hong, Xu(1895-1953) was one of the best Artist in China. He interested in western art techniques, and studying hard and meeting with contemporary Western artists. He studied to drawing of Western Art and thought that the Chinese art-education is changing to drawing. Maybe, When studying in France Xu absorbed creative ideas hom the Impressionist and Realist, creating a land of painting with strong abjective romantic appeal. He pursuits to harmony western painting to Chinese painting. He wishes to Chinese painting glories. He also acknowledged to succeed for Chinese art-education, insisted to introduced Western painting. But his insistence had many problems. Because Xu violated that Chinese painting has very old tradition. Besides he ignored that Chinese painting differs from Western painting in many respects. In this a point, Xu's insistence was lost of persuasiveness.

송원명대 회화론에 나타난 미술비평적 미술론에 대한 연구-곽희, 소식, 미불, 조맹부, 황공망, 동기창을 중심으로-

장준석 한국기초조형학회 2017 기초조형학연구 Vol.18 No.4

The objective of this study is to analyze, consider and systemize a process that painting theory of various artist who played a pivotal role in art theory since Northern Song Era formed and developed art criticism and its effect relationship. First, as relevant research data was limited in generally researching art criticism activity of artist since northern Song era, painting theory of Song, Won, Ming was selectively researched and analyzed. In this process, early art criticism situation of China at that time and its painting theory were clarified in a perspective of art criticism. To analyze formation of painters who played a pivotal role for this objective, painting theory and art idea objectively and academically through old literature data was a very important task. In this study, a perspective of Chinese critical paintings containing scholastic temperament and literary spirit being represented in Chinese paintings could be further systemized. In particular, it could be realized that during Song, Won, Ming era, diversified painting theory was appeared under painting preference by writers, positive attempt for artistic philosophy was made and art criticism viewpoint was settled down as more important position. In this study, while reminding, analyzing above points, standard and background of artistic philosophy as a base of art criticism involved in Oriental painting were observed and focus of criticism involved in spirit and painting of scholastic painters were analyzed. Based on this, it could be concluded that their viewpoint of art criticism at that time affect even contemporary modern art directly, indirectly. In addition, through this study, in connection with critical viewpoint formation of Oriental paintings that were vaguely understood by us, a method of analyzing and criticizing paintings in which spirit of literary writers is contained in more detail and systematically could be confirmed. 본 연구의 목적은 북송대 이후 미술 이론에 있어서 미술비평적 성향이 강한 글을 남겼다고 판단되는 곽희(郭熙), 소식(蘇軾), 미불(米芾), 조맹부(趙孟頫), 황공망(黃公望), 동기창(董其昌)의 회화미학 등을 중심으로 당시의 미술비평의 성향 등을 분석고찰하는 데 있다. 이를 위해 송, 원, 명의 화론을 선별하여 미술비평의 성향을 지닌 내용이라고 생각되는 자료들을 선택해서 비평적 관점에서 연구분석하였다. 이 과정에서 당시 중국 초기 미술비평의 상황과 일련의 화론들이 당시 화단에 매우 중요한 역할을 하고 있었음을 알 수 있었다. 따라서 당시 미술비평으로서 중추적인 역할을 한 곽희, 소식, 미불, 조맹부, 황공망, 동기창을 중심으로 한 화론을 수집하여 당시 비평관은 무었을 기준으로 하였는가를 밝히는 것은 의미가 있다. 연구 과정에서 중국의 회화에 나타나는 사기(士氣)와 문기(文氣)가 담겨져 있는 중국의 비평적 회화의 접목이 매우 중요하게 생각되었다. 특히 송(宋)원(元)명(明)대에는 문인들의 회화 선호 속에서 평담(平淡), 전아(典雅) 등 다양한 비평적인 기준과 근거들이 출현하고 있음을 살펴볼 수 있었다. 그럼에도 미술비평은 중국 회화 사상 매우 중요한 심미기준(審美基準)이 되는 학술적 가치를 지니지만 아직까지도 학문적으로 명확하게 분석정리되지 못하고 있는 실정이다. 본 연구는 이러한 부분들을 상기분석해가면서 동양화에 내재된 미술비평의 근저가 되는 예술 철학의 기준과 저변을 살펴보았으며, 선비화가들의 정신성과 회화 속에 내재되어 있는 비평적 개념들이 시대에 따라 다르게 성립되고 전개됨을 확인할 수 있었다. 본 연구는 우리가 막연히 알고 있던 동양화의 화론과 문인정신 속에 담겨져 있는 예술 철학이 비평적미학적 기준을 갖춘 미술비평으로서의 역할을 하기 위한 근거와 체계를 지녔다는 점을 근거로 새로운 연구 방향의 기초를 마련할 수 있다는 점에 그 의의가 있다.

한국미술교육에 나타난 후기모더니즘적 성향과 정체성에 관한 비평적 연구

장준석 한국초등미술교육학회 2019 미술교육연구논총 Vol.59 No.-

The purpose of this study is to analyze how post-modernism, the mainstream trend of the world, influences Korean art education and figure out art university’s education in accordance with Korean art culture and the situation of art education critically. Unfortunately, so far, the Western tastes or phenomena have been often adopted uncritically, or the trends of art modernized in a wrong way have existed mixedly in Korean art university education under the name of nationalism or Korean styles. Active induction of advanced culture means not only to absorb the world’s trends promptly and realize cultural communion but also to combine and apply them more properly as more Korean-style art and art education. Instead of accepting the internationality of Western post-modernism as simple logic, it would be needed to understand the ground directly as well as aggressively and also filtrate and consider it retrospectively. This should be essential for our art and art education, too. It would be just cursory imitation or copying to accept what is Western just as it is with no verification. This is naturally against post-modern thinking and causes confusion in Korean art and education. Within the diverse changes and aspects of the West, we should absorb some common denominators. In other words, for Korean art education to present desirable conditions for art education, it is needed to grope for realistic gaps between Western patterns and our art concretely and then accept them. Only when Western post-modern art is improved appropriately for Korean art education, we can see the potentials of Korean art equipped with its own legitimacy. Above all, when it creates the lives of ours genuinely and when we participate in the history of global art actively with thorough understanding and affection for our history, we can revitalize our art and art university’s art education. The world today demands homogeneity in many ways. So far, we have maintained silence about the demand for homogeneity. Instead of being silent about the Western art trends literally, it is important for us to present desirable directions for our lives and discuss in order to find ways for Korea art and art education to proceed newly. 본 연구의 목적은 현대 미술에서 중요한 역할을 하고 있는 후기모더니즘을 미술교육적인 관점에서 살펴보는 데 있다. 따라서 후기모더니즘 담론이 지니고 있는 교육적인 현상을 고찰하고, 기존 교육과정과 새로운 탐구 학습에 대하여 연구하고자 하였다. 후기모더니즘 이론을 확대 해석하고 비평적 관점을 견지하였던 1980년 이후의 이론들에서 교육적인 영향관계를 정리·분석함은 한국미술교육의 한 부분을 새로운 관점에서 바라보고 체계화시키는 일이다. 이를 위해 먼저 후기모더니즘의 틀에서 정체성을 형성·발전시킨 미술 교육의 과정을 분석하고자 하였다. 아울러 미술교육의 중심을 정체성에 두고 미술교육이 보다 체계적으로 융화·발전해가는 현상을 살펴보았다. 후기모더니즘과 후기구조주의 시대의 정체성의 방향과 특징 등을 미술교육과 관련 자료들을 통해 학술화 및 체계화시키는 것은 매우 중요한 부분이 아닐 수 없다. 본 연구로 근대 이후 서구화된 한국미술 교육의 열악한 교육 환경을 극복하며, 보다 생산적인 방향에서 한국의 정체성을 확보하고, 후기 모더니즘 시대의 정체성이 담긴 새로운 미론과 미술교육 그리고 비평의 틀을 체계화하는 데 기여하고자 한다. 더 나아가 후기모더니즘 이론에서 정체성을 지닌 미술이론을 추출하여 새로운 형태의 미술이 전개될 수 있도록 미술교육에 대하여 향후 다양한 연구를 진행하기 위한 이론적·실천적 계기를 부여하는 데 있다.

형질변환(形質變換, metamorphosis)과 해체적 회화성에 대한 연구 - 아메데오 모딜리아니 회화를 중심으로 -

장준석 유럽문화예술학회 2014 유럽문화예술학논집 Vol.5 No.2

In this thesis, from using the meanings of destruction and deconstruc tion, to distinguish the expressive skill in contemporary art workers ar e arising. Therefore, special methods which are linked in the destructio n styles are selected. As a result, the two different purpose of destruct ion is arising. one is enmity destruction and the other is self destructi on another world, auto destruction or destruction to create. Self-destruction based paintings are clearly different in the purpose of approaching the art work. First of all, they can be auto-destruction. cr eative destruction and metamorphosis destruction. which is linked with the sk피 the material aspect and basic stature, and sign destruction or signifier destruction. which is link with the inner meaning destruction hat is considered as the destruction in the post-modem paintings. so it can be resulted in the changedness of expectation and recognition. Already in 1900 when Paris changed every trick in the academic pain tings. If Picasso and Braque and Modigliani' paintings held themselves aloof from the movement they had initiated, they were probably bette r aware than any of their contemporis of its implications. Already in 1 900 when Picasso came to Paris and Modigliani came to Paris start m etamorphosis and destructive paintings. Because Their' s paintings direc t or non-direct connecting. First of all Theirs' paintings accumulated e xperiment shape and the metamorphosis and destructive. With stsrting the 20the Century, the modem arts spread out the d리i cate conditions taking on a aspect of the repaid progress. As it is call ed a galaxy of author’s appearance and insistence their Ism beginning with the various activities, the every movements like the statement of the school answear the more varied circumstance. While they related t he 따tist of the ages, a member of Ecole De Paris, the exotic group, a nd he had same artistic taste and confirm the value of existence with each other relatively. We can discover these paintings style other selfdestructive methods. so J acques Derrida called the difference meaning i n destruction. These methods are started by Picasso, Braque and Modi gliani’ paintings who has developed the attacking heart in the spectato r ’ emotion.