한국 전통예술 산업의 발전 전개 과정과 시대별 특성 분석에 관한 연구 - 1991~2022 -

강안나 한국경영사학회 2023 經營史學 Vol.108 No.-

Recently, Korean pop culture, including K-pop, dramas, and movies, has grown beyond belief. Koreans working in the global art scene and their examples are referred to as the “Art Korean Wave.” BTS Suga’s new songs, “Daechwita” and “Haegeum,” are drawing attention to K-pop and Korean culture by borrowing Korean traditional music. The Inalchi Band(hereinafter referred to as Lee Il-chi)’s “Bum Comes Down” is gaining huge popularity among domestic and foreign netizens and is leading the globalization, reinterpretation, and modernization of traditional art. The beginning of fostering global cultural content industry begins with the good transmission and preservation of Korean traditional art. Well-preserved traditional Korean art and modern popular music should coexist and develop. The Korean government is promoting various projects within three frameworks: popularization of traditional art naturally incorporated into our society, industrialization that strengthens the self-sustainability of traditional art and increases product value as cultural content. Since 2007, the Korean Folk Arts Festival has been seeking a new direction of development based on the achievements of half a century, with major projects such as restoring and reproducing traditional art, revitalizing creation, distributing overseas Korean traditional music, and globalizing Arirang. In 2013, a systematic support policy was implemented to develop traditional art that has been passed down through a series of projects damaged or concentrated by region and genre to create a foundation for tradition to coexist in harmony with modern times. Accordingly, this study investigated the historical development of Korean traditional culture and art Industry and conducted an exploratory study to compare and analyze how to popularize and globalize traditional art through preserving the original form of traditional art and supporting activities to revitalize creativity.

북한 조선문학예술총동맹의 역사적 변천 (1946-53)

김성수 통일연구원 2024 통일정책연구 Vol.33 No.1

This article explores the early historical changes of The Korean Literature and Arts Alliance, an organization of North Korean literary artists. The historical development process of North Korean literary organizations during the liberation of August 15 and the Korean War (1945-53) is summarized from the historical perspective of the literary movement. This is to dismantle the canon of the North Korean authorities, which is recognized only by the history of Juche literature, which made ‘anti-Japanese revolutionary literary art’ the only tradition. As an alternative, it is part of the Decanonization, which restores the history of the socialist literary and artistic movement, which takes KAPF as a new tradition, to live-action. Specifically, it analyzes daily newspaper literary articles such as Jeongro, Rodong Sinmun, and Democratic Joseon, and monthly literary articles such as Cultural Front and Literature Arts. Through him, the history of the literary organization is reorganized from the North Korean Arts Federation (1946.3) to the formation (1951.3) and dissolution (1953.9) of the Korean Literature and Arts Alliance, in which the two Koreas are integrated, through the North Korean Arts Federation (1946.3). It organizes the history of the 1st North Korean Artists’ Congress (1946.3) and the formation of the North Korean Arts Alliance, the 2nd North Korean Writers’ Congress (1946.10) and The North Korean Literature and Arts Alliance, the formation of The Korean Literature and Arts Alliance integrated with the ‘Literature and Arts Alliance Association of South and North Korea’, the formation of the 1st National Artists’ Congress and The Korean Literature and Arts Alliance, and the formation of the Korean Writers’ Alliance, focusing on organizational lines and ideologies. It summarizes the major creative achievements of the period along with the changes in the literary organization, but analyzes the issues such as strengthening the Party (黨) literary line through the ‘Promotion Incident’, the military activities of the integrated literary group during the war, and the controversy over the ‘Burgeois thought aesthetics’ through the ‘anti-sectarian struggle’.

이경 조요한 선생의 예술철학과 한국 근현대 미학예술학

이인범 ( Ihn Bum Lee ) 한국미학예술학회 2012 미학예술학연구 Vol.35 No.-

The aim of this essay is to illuminate the philosopher Yohan Zoh (1926-2002)`s philosophy of art in the context of Korean modern aesthetics. Exceptionally, Yohan Zoh acted broadly in the region of academia about arts, religion, and philosophy in the Korea, publishing The Philosophy of Art(1973), The Heart that Loves Arts(1993), and The Illumination of Korean Aesthetics (1999). Posthumous works are Interest and Insight(2004), The Beautiful is Difficult(2005), and Relics of the Beautiful Spirit(2012). These works on aesthetics and the arts, along with The Hermeneutical Problems of the Philosophy of Aristoteles(1975), The Philosophy of Aristoteles(1988), and The Heart that Loves Philosophy(1993), show Zoh`s scholarly interests. Aesthetics and Art History in modern Korea began with Yusub Ko (1905-1944) who studied at the Keijo Imperial University and graduated the school with a submission of his thesis on Konrad Fiedler, “The Essence and Meaning of Artistic Activity.” Ko later became the director of the Kaikyung Museum of Art. Ko`s untimely death caused the discontinuation and ups and downs in the development of Korean scholarships in Aesthetics and Art History. The inflow of western culture and philosophy, and Japanese colonial era resulted in cultural colonialism in Korea, separating its history from the reality of life. Yohan Zoh grew up during the Japanese colonial era. He entered the department of Philosophy at the Seoul National University after Japanese retreat. He tried to overcome the fragmented reality of Korea life through the study of the philosophy of Kierkegaard, and chose Greek philosophy and Christianity as his future focus of study. As a way of applying his philosophy to the reality of life, Zoh actively engaged with issues of art practice since the 4. 19 Revolution of 1960. Simultaneously he published The Philosophy of Art to establish the foundation of methodology for the study of aesthetics and the arts. Since then, he focused on explaining “the spirit of Korean art” and published many essays on the theme, including his last publication, The Illumination of Korean Aesthetics. The philosophy of art of Yohan Zoh had developed in accordance with his interests in Christianity and Greek philosophy. As the first scholar of Aesthetics and Art History in post- liberation Korea, Yohan Zoh inherited the scholarly task of Yusub Ko and embraced “Aesthetics as a Western Area of Study” and applied it to the reality of Korean life to explicate “the Korean Spirituality in the Arts.” His scholarly journey was interconnected with his attempts to overcome Korean`s schizophrenic and autistic cultural colonialism. Therefore, Arts-Religion-Philosophy, Art Practice-Studies of Arts, and Aesthetics-Art History all meet in Yohan Zoh`s philosophy of the arts. Though Zoh`s study of “Philosophy of the Arts” departed outside the field of Aesthetics, it rooted deeply in the reality of Korean life and opened a new horizon of Aesthetics and Science of Art in Korea.

보스턴미술관의 한국미술 컬렉션 연구 (1892~1950)

김지하 ( Kim Jiha ) 동양미술사학회 2019 동양미술사학 Vol.9 No.-

보스턴미술관의 한국미술 컬렉션은 보스턴미술관의 운영 및 소장품 수집과 관련된 컬렉터들과 큐레이터에 의해 변화를 겪어왔다. 보스턴미술관의 동양미술품 소장 및 연구는 일본과 중국이란 큰 축을 중심으로 이뤄졌으며, 그 중 한국미술은 부수적인 부분으로 다뤄졌다. 본 논문은 동양컬렉션의 조성 과정 및 소장과 연구에 주요한 영향을 미친 두 명의 큐레이터와 컬렉터들의 활동을 중심으로 살펴봄으로써 보스턴미술관의 한국미술 컬렉션의 형성과 특징에 대해 조명해보고자 하였다. 보스턴미술관에 한국 미술품이 처음 소장된 1892년에서 1910년 사이 에드워드 실베스터모스(Edward Sylvester Morse, 1838~1925)의 한국 도자 컬렉션이 가장 주요하다. 일본도자기와의 관계를 보여주기 위한 표본으로 삼국시대부터 근대에 이르는 시기의 다양한 한국도자기가 수집되었으며 특히 신라, 가야의 토기가 많은 비중을 차지했다. 시기, 종류의 구분없이 하나의 캐비넷에 전시된 한국도자기는 민족학, 인류학과 유사한 맥락에서 연구되었다. 이어지는 1910년대와 1920년대에는 기존 동양미술 컬렉션에 부족한 일본 조각과 중국 미술품들을 보강하는 과정에서 회화, 공예 등 다양한 매체의 한국미술품이 함께 소장되었다. 그 중 특별 기금을 통해 수집된 고려청자는기형, 색감, 문양, 유약 등의 특징을 파악하는 등 청자 자체로서 전시, 연구되는 양상을 띠었다. 연구를 통해 과거부터 중국, 일본인들에게 높은 평가를 받은 우수함과 고분 출토 도자기가 갖는 진품성이 고려청자를 한국미술의 대표격으로 자리잡게 하였다. 한편 고려청자는 중국 고대 역사를 바탕으로 다양한 동양미술의 보고로 발전한 일본미술까지의 시대적 변화를 담은 보스턴미술관 동양미술 전시에 한 부분으로 자리하였다. 전시구성과 함께 보스턴미술관의 동양미술 소장, 연구에 반영된 오카쿠라 카쿠조(岡倉天心, 1868~1913)의 영향은 동양미술 연구자와 컬렉터들로 이어졌다. 다음으로 도미타 코지로(富田幸次郎, 1890~1976)가 동양미술부를 이끌어 나가던 1930년 이후, 일본 미술상과의 관계 속에서 고려시대 금속공예품이 주로 소장, 연구되었다. 동서양을 오가며 주요 컬렉터 및 기관과의 관계를 형성해 온 야마나카 회사(Yamanaka Company)를 통해 수집된 금속공예품은 코지로에 의해 일본 연구자들의 발굴, 연구성과를 활용하여 연구되며 한반도 내 일본 식민정책의 성과를 함께 담아내기도 했다. 마지막으로 한국미술 컬렉션에 가장 큰 기여한 찰스 베인 호이트(Charles Bain Hoyt, 1889~1949)의 한국 컬렉션은 고려청자, 금속공예에 편중되어 전체 한국미술 컬렉션과 유사한 구성을 가지고 있으나 조선시대 도자기가 청자와 비슷한 수준으로 수집되었으며 다양한 기형, 기법을 반영하고 있어 개인의 취향도 반영되어 있음을 확인할 수 있었다. The Museum of Fine Arts, Boston(MFA), opened in 1876, have a extensive history and collections. The museum’s collection of Asian art especially is one of the finest in the United States and over 100,000 works are included about 1,045 Korean art works and related materials. In this dissertation aims to consider how the Korean art collection had been acquired and studied during the period from 1892 through 1950. Morse’s collection of Korean ceramics is the most important between 1892 and 1910. Various types of Korean ceramics from the Three Kingdoms Period to modern times were collected as a sample to show their relationship with Japanese ceramics, especially pottery from Silla and Gaya. The collection displayed in one cabinet, regardless of tim and type, were studied in a similar context to ethnology and anthropology. Korean art was collected in the process of collecting scarce Chinese and Japanese art from the Oriental art department. A variety of Korean artworks have been collected while reinforcing scarce Chinese and Japanese art from the Department of Chinese and Japanese Art. Among the collection, Goryeo celadon collected through a special fund and displayed in exhibition from ancient China to modern Japanese art. Through the research, the outstanding quality and authenticity of Goryeo celadon, which was highly appreciated by the Chinese and Japanese people, made Goryeo celadon as a representative of Korean art. Goryeo celadon has become a part of the Eastern art exhibition, which has developed from ancient China art to modern Japan art. Okakura Kakuzo’s influence on the exhibition and research of Eastern art at the Boston Museum of Art continued with later researchers. After 1930, metal crafts of Goryeo Dynasty were mostly housed and studied by Tomita Kojiro who led the Department of Eastern Art. He used Japanese researchers' achievements in studying metal crafts of Goryeo Dynasty and reflected the outcome of Japan’s colonial policy on the Korean Peninsula. Finally, Hoyt's Korean art collection, which is the biggest contributor to the collection of Korean art, is concentrated on Goryeo celadon and metal crafts, and has a similar composition to the entire collection of Korean art. Hoyt’s Korean collection, the largest portion of the Korean art collection, is concentrated on Goryeo celadon and metal crafts like entire collection of Korean art in MFA. On the other hand, the pottery of Joseon Dynasty were possessed in the similar amount Goryeo celadon. Also, the ceramics with various shapes and techniques were reflected tastes of the collector.

해외 한국문화원의 국악교육 활성화 방안 연구: 터키 한국문화원 가야금 실기강좌를 중심으로

조유회 국립국악원 2017 국악원논문집 Vol.36 No.-

The objective of this paper is to find better methods of overseas’ Korean traditional music, gugak, education as knowing the actual condition of Korean Cultural Center Overseas and using survey of students who have taken practical courses at Korean Cultural Center Turkey. Recently, young generation in Turkey is interested in Korean culture because of drama and K-POP. A course of Korean cultural at Korean Cultural Center Turkey offers a variety of Korean cultural courses to fulfill their interests. Most of the students, who have taken gayageum practical class, have answered that it was first heard about gayageum when they have visited to learn the traditional culture of Korea, country of brothers. Also, they have wanted to learn gayageum because it was interesting when they listened the sound of it from performance and seminar. As of result, it showed how important local Korean Cultural Center Overseas’ roles for gugak education in overseas. Meanwhile, it has been a problem for a short period and sustained of course. Also, it has been changed instructors and teaching materials every course. However, those problems apply not only for Korean Cultural Center Turkey but also most of the practical courses at Korean Cultural Center Overseas. Because it relies on overseas traditional performing art team for temporary and Cultural School of Gugak by National Gugak Center. Thus, Ministry of Culture, Sports and Tourism should establish an organization for instructors who educate gugak in overseas to provide systematic gugak practical course by letting them stay longer in local. In addition, it should be built a system to keep methodical oversea gugak education which worldwide same courses for developing gugak and spreading Korean culture. By so doing, the gugak industry can make new occupations, also it can be led to gugak’s globalization. 본 논문은 터키 한국문화원의 가야금 실기강좌를 중심으로 문제점 및 강습생들의 요구사항을 설문조사ㆍ분석하여 해외 한국문화원의 국악교육 실태를 파악하고, 앞으로 더 나은 해외 국악교육의 활성화 방안을 모색하는 것을 목적으로 작성되었다. 최근 한국드라마와 K-POP 등 한류의 열풍으로 터키의 젊은이들 사이에서 한국과 한국문화에 대한 관심이 증폭되고 있으며, 이에 부응하여 터키 한국문화원에서도 다양한 한국 문화강좌를 시행하고 있다. 그 중 가야금 실기강좌 강습생을 대상으로 설문조사를 한 결과, ‘형제의 국가’인 한국의 전통문화를 배우기 위해 한국문화원에 방문했을 때 가야금을 처음 알게 되었으며, 한국문화원의 공연과 세미나에서 가야금 소리를 듣고 관심이 생겨 가야금을 배우고 싶었다고 답변했다. 따라서 해외 국악교육에서 현지 한국문화원의 역할이 큰 비중을 차지한다는 것을 알 수 있었다. 한편, 강습생들은 터키 한국문화원의 한국 전통음악강좌에 대하여 짧은 강습기간, 강습의 지속성 여부, 강습 때마다 바뀌는 강사와 교재 등의 문제점을 제기하였다. 그러나 이러한 문제점들은 터키 한국문화원뿐만 아니라 대부분의 해외 국악 실기강좌에서 공통적으로 나타나는 문제로, 해외 국악 실기강좌가 단기간 파견되는 해외 전통문화예술단과 국립국악원 강사파견사업에 대한 의존도가 매우 높기 때문이다. 따라서 이러한 문제점들을 해결하기 위해서는 문화체육관광부 산하에 해외 국악교육을 위한 전문기관을 설립하여 해외 국악교육을 위한 전문 인력을 양성하고, 국악강좌 프로그램과 교재를 개발하여 해외 한국문화원에 장기간 파견해야 할 것이다. 아울러 국악의 발전과 한국문화를 세계에 알리기 위해서는 전 세계 어디서나 동일한 과정의 체계적인 해외 국악교육을 지속할 수 있는 시스템을 구축해야 할 것이다. 그럼으로써 국악계에서는 새로운 일자리가 창출될 것이며, 나아가 국악의 세계화에 앞장설 수 있을 것이다.

국내 전시 사례로 본 국외 소재 한국 문화재에 대한 국내의 인식 변화

신소연 ( Shin Soyeon ) 국립중앙박물관 2024 박물관과 연구 Vol.1 No.0

There are two main perspectives in Korea on Korean cultural heritage located overseas: one views it as items that need to be repatriated since they were scattered abroad under unfortunate historical circumstances. The other considers them as a means to more widely promote Korea’s culture and long history. A shift in perspective has gradually been taking place in the decades since Korea’s liberation from Japanese colonial rule in 1945. This can be noted through three major types of exhibitions. The first type is exhibitions of repatriated cultural heritage that showcase items that were illegally removed from the country but later returned or otherwise acquired through purchase or donation. The Special Exhibition of Returned Cultural Heritage, which was held in 1966 on the occasion of the normalization of diplomatic relations between the Republic of Korea and Japan, emphasized the legitimacy of reclaiming cultural properties that were illegally removed from Korea during the period of Japanese colonial rule. Around the 1990s, special exhibitions of private donations were held, which also highlighted the legitimacy of repatriation. The special exhibition of the Oegyujanggak Uigwe (Royal Protocols of the Joseon Dynasty from the Outer Royal Library) held in 2011 was seen as an opportunity to raise public interest in repatriation, heal the wounds of history, and restore the nation’s cultural pride. The second type of exhibition involves borrowing and displaying overseas Korean cultural heritage in accordance with a theme as a means to reenergize and provide a comprehensive view of Korean culture. The exhibitions National Treasures from the Goryeo Dynasty in 1995 and National Treasures from the Early Joseon Dynasty in 1997 (both held at the Hoam Museum of Art) and the Masterpieces of Goryeo Buddhist Painting held at the National Museum of Korea in 2010 underscored the importance of overseas Korean cultural heritage for exploring Korean cultural history. The third type is special exhibitions on the history of the collection of Korean cultural heritage. With Korea’s economic growth in the 1980s and the increase in exhibitions and the number of galleries featuring Korean cultural heritage in overseas museums in the 1990s, interest in the history of acquisition also grew. Exhibitions like The Korean Collection of the Peabody Essex Museum in 1994 and Korean Art from the United States in 2012 introduced overseas galleries focused on Korean art and the diverse history of collecting Korean cultural properties. They also examined the perception of Korean art in the United States. These efforts heightened public interest in establishing and supporting Korean galleries abroad. The initiation of more systematic surveys and research on Korean cultural heritage located abroad and the contribution of overseas Korean cultural heritage to the enhancement of the local understanding and promotion of Korean culture have resulted in changes to the perception of overseas Korean cultural heritage in Korea.

다문화사회에서의 ‘한국 전통음악’의 역할

최성환(Sung-hwan Choi),이진아(Jin-a Lee) 중앙대학교 문화콘텐츠기술연구원 2012 다문화콘텐츠연구 Vol.0 No.12

이 연구는 다문화사회에서 개방적인 정체성 확립을 위한 ‘한국 전통음악’의 역할에 대한 고찰이다. 우리는 다문화사회에 직면하여 과거 혈연중심의 단일민족주의와 서구문화에 대한 편향적 태도에서 벗어나 다원주의적 입장에서 세계를 인식하고, 다인종?다문화 세계에 살아갈 청소년 세대들을 위한 새로운 다문화 교육이 요청되고 있다. 음악을 포함한 문화예술 활동은 다양한 문화적 유산과 자원이 서로 평등하게 공존하고 소통할 수 있으며, 다양성이 인정되고 실현될 수 있는 연결고리로 작용할 수 있다. 레비스트로스(Levi-Strauss)는 “다양성이 없이는 인류가 진정으로 살아갈 수 없다”고 지적하였다. 우리는 다문화사회에서 여러 문화의 다양성을 보존해야 한다. 또한 민족 전통 속의 정체성과 잠재력을 북돋워 특수성을 유지하면서 타문화와 교류하여 새로운 문화를 창조해야 하는 것이다. 이와 같이 문화예술활동은 다문화 사회에서 타문화의 이해와 공존을 위한 가장 자연스럽고, 쉽게 융화될 수 있는 효과적인 활동이다. 그동안 한국 다문화교육에서는 문화예술활동에 대한 지원이나 구체적 방법론 보다는 다른 활동에 관심을 기울였다. 특히 음악교육부분에서는 우리문화의 정체성 확립을 연관된 한국 전통음악에 대한 내용은 부족하였다. 무조건적 동화를 지향하는 한국 전통음악교육이 아니라 한국의 다문화사회에서 사회의 통합, 소통을 위한 한국 전통음악을 포함한 음악교육과정이 필요하며, 교과서에 충분히 반영시키기 위한 구체적인 방안과 다문화사회에서의 한국 전통음악의 역할에 대한 재인식이 요구된다. 또한 우리의 고유한 사회적 배경과 한계를 분명하게 인식하고 ‘한국 전통음악’의 정체성을 확립함과 동시에 시대흐름에 맞는 음악을 추구하는 문화교육’의 가능성이 모색되어야 할 것이다. 이 글은 먼저 문화예술교육의 위상과 한국의 다문화교육의 한계점을 살펴본 다음, 문화의 본질과 관련된 음악교육의 필요성과 우리의 정체성과 관련된 ‘한국 전통음악’교육의 필요성을 제시하고자 한다. 마지막으로 미래의 전망과 더불어 한국 전통음악의 아시아음악과의 혼융을 통한 다문화사회에서의 음악의 역할과 한국 전통음악의 다문화교육콘텐츠의 방향성을 제시하려한다. 한국 전통음악은 다문화사회에서 다른 문화권의 음악과 함께 이해되고 발전시켜야 그 가치를 인정받게 될 것이다. 따라서 단순히 한국 전통음악을 소개하고 교육하는 것에서 끝나지 않고, 전통음악의 정체성을 지키면서 넓게는 아시아음악과의 혼융을 통해 새로운 문화예술교육의 방향이 모색되어야 한다. 또한 세계화라는 불가피한 변화 속에서 한국 전통음악을 활성화시킬 수 있는 ‘한국 전통음악(교육)의 콘텐츠화’ 작업이 절실하게 필요하다. This study is about the role of ‘Korean traditional music for the establishment of open identity at multi-cultural society. Facing on the multi-cultural society we need to be free from deflective attitude about Western culture and nationalism and recognize the world from the position of multiculturalism. So new multi-cultural education for the youth generation who will live in the multi-racial?multi-cultural world is required. Culture, art and music could naturally occupy as the tool of communication between various cultural heritage and resources co-exist without discrimination. Levi-Strauss claimed that human race cannot truly live without diversity. We should preserve diversity of various cultures in multi-cultural society. Also by encouraging potential and identity for their uniqueness within ethnic tradition, we should create a new culture interchanging of various culture. In the multi-cultural society Korean traditional music education in the meantime did not have enough contents which are required for the establishment of open identity of our culture. Music education course for the communication and unity of society is in need and Korean traditional music in multi-culture is also essential. Additionally more detailed methods to reflect enough in the textbook and Korean traditional music’s directivity in multi-cultural society are necessary. This study attempts to look very closely at the status of culture, education of arts and the limitation of Korea’s multi-cultural education, Second, it proposes the necessity of the music education that’s related to essence of a culture and our identity in ‘Korean traditional music’. Lastly, the study suggests the role of music in multi-cultural society through combination of Korean traditional music and Asian music together with the brightness of future and directivity of multi-cultural education content of Korean traditional music. Korean traditional music will be worthy when it is understood and developed together with music of other culture in multi-cultural society. Furthermore by accepting education theory of multiculturalism the introduction of Korean traditional music and education must be considered so that the significance of culture art education where the coadaptation of traditional music of multi-cultural society can be done systematically with keeping the identity of traditional music. Making contents for Korean traditional music education is also very important in Korean music market of the flow of globalization.

한국 앵포르멜 담론 형성의 재조명을 통한 시대적 정당성 고찰

김희영(Kim Hee-Young) 한국근현대미술사학회 2008 한국근현대미술사학 Vol.19 No.-

The newly acquired American economic and political power after WWII played a substantial role in promoting Abstract Expressionism. Although American Abstract Expressionist style was introduced to Korea as a cultural signifier of freedom, sovereignty, democracy, modernity, and capitalism, a new abstraction in Korea was to be called Informel, named after French Art Informel. The focal point of this paper is the ambivalent term Informel, which was taken to name the first Korean avant-garde art, which had the burden of decolonization and modernization. Come as a belated form of modern art, it was not until the 1960s when the term Informel was officially used to describe the new Korean art. The term Informel provides a productive space to investigate the development of Korean avant-garde art in a space of ‘time-lag.’ Korean Informel implies the gap between the original formation of American Abstract Expressionism in the 1940s and the local reception of it in Korea in the 1950s. The course of the Korean artists’ adoption of western avant-garde does not complete a universal history of modernization naturally progressed through a ‘homogenous time.’ By tracing the apparently incoherent course of ‘cultural translation,’ this paper argues that Informel reveals the uneasy course of the formation of the first Korean avantgarde art. As to the Korean reception of Abstract Expressionism, questions can be posed whether it was a deflection of the formalist Modernist aesthetic, or an eclectic reception of its alternatives. Clement Greenberg’s aesthetic autonomy was absent in the discussion of Korean art critics and artists upon their reception of the new abstract art. Instead, Korean artists and art critics referred to Harold Rosenberg’s concept of ‘Action Painting’ and Michel Tapie’s ‘art autre.’ This paper argues that Korean artists decoded the cultural sign of Abstract Expressionism and negotiated with the dominant art form in their particular cultural and political milieu. Korean avant-garde artists sought an innovative style, which would help dismantle the unwanted colonial past by searching out a new way to express their pathos.

한국 기독교미술의 전개와 과제

서성록 기독교학문연구회 2016 신앙과 학문 Vol.21 No.3

‘Korean Christian Artists Association’ established by Korean artists in 1965 predates Christian in the Visual Arts (CIVA) of America established in 1979, and it has been playing a pivotal role in spreading and dispersing Christian visual arts. This study examined major issues and artists and how Korean Christian Artists Association played the leading role in the art circles by dividing the development of Korean Christian art in four periods such as the sprouting period, formative period, developing period, and expanding period in commemoration of the 50th anniversary of the association. Early Christian art intensely exhibited indigenous tones such as depicting Jesus as the aristocrat wearing traditional hat and robe, and this trend has not changed much even after the liberation. Christian art began to develop in full with the establishment of ‘Korean Christian Artists Association’ in the mid 1960’s when the society started to overcome the aftermath of the Korean War and stabilize gradually and it gave births to monumental pieces such as <The Life of Jesus> by Hak-soo Kim, <Glory> by Bong-nam Suh, <Figures of the Tower Commemorating the Centennial Anniversary of Korean Church> by Young-ja Youn, missionary paintings by Kim Young-gil, and <Jesus the Fool> by Byung-jong Kim in the 1980’s alongside successive overseas activities. In the 1990’s the advent of a series of young artists’ associations in the nature of cultural movement and the associations composed of existing artists such as ‘Korea Artist Missionary Association’ and ‘Art Mission’ changed the streams of the Christian art; switching from subject centered tendency and sectism to the expression of whole person based on the Christian world view. The conclusion suggested a few measures Korean Christian artists to establish artistic vision without losing the identity as a Christian in the age of collision between various discourses. First, the Christian art circles need to cope with realistic culture through the shift in generations and be more active about developing Christian artistic discourse. Second, it is necessary to give more attention to cultural reformation and make efforts to bring Christian art to relief as a cultural alternative. Third, the Christian art will advance when artists and believers take a new perception about visual art. Fourth, it is necessary to develop publicness by participating in the world through the entire existence of Christian artists. 1965년 기독교미술인들이 주축이 되어 출범한 ‘한국기독교미술인협회’는 1979년에 창립된 미국의 CIVA (Christian in the Visual arts)보다 시기적으로 앞선 것으로, 그간 기독교 시각 예술을 확산, 보급하는 중추적인 역할을 담당해왔다. 본 논문은 한국기독교미술인협회 50주년을 계기로 한국 기독교미술의 경과를 맹아기, 형성기, 도약기, 확산기 등 네 시기로 나누어 주요 현안과 작가들, 그리고 미술계에서 어떻게 선지자적 역할을 해왔는지 고찰하였다. 초기의 기독교미술에서는 예수님이 갓을 쓰고 두루마기를 입은 선비로 묘사하는 등 토착적 색채가 농후했으며, 이런 기조는 해방 후에도 크게 변하지 않았다. 기독교 미술은 6.25전쟁의 후유증을 극복하고 사회가 조금씩 안정되기 시작하던 1960년대 중반 ‘한국기독교미술인협회’가 창립됨으로써 본격화되었고, 1980년대에는 잇단 해외진출과 김학수의 <예수의 생애>, 서봉남의 <영광>, 윤영자의 <한국기독교 100주년 기념탑 인물조각>, 김영길의 선교용 회화, 김병종의 <바보산수>가 제작되면서 기념비적인 작품들을 탄생시키는 개가를 올렸다. 1990년대에는 문화운동적 성격을 띤, 일련의 청년미술단체와 기성미술인들로 구성된 ‘한국미술인선교회’, ‘아트미션’이 출현하면서 기독교미술의 물줄기를 바꾼 시기이기도 하다. 이로써 소재주의와 섹트주의에 연연하던 모습에서 기독교세계관에 입각한 전인(全人)의 표현으로 궤도를 수정한 측면을 보이고 있다. 결론에서는 온갖 담론들이 충돌하는 시대속에서 한국의 기독교 미술가들이 정체성을 잃지 않고 예술적 비전을 확립하기 위한 몇 가지 방안을 제안하였다. 첫째 기독교미술인들과 목회자들이 현실문화에 지혜롭게 대처하고 기독교적 예술담론의 구상에 보다 적극적이어야 한다는 점, 둘째 문화개혁에 좀더 관심을 기울이며 기독교예술이 문화의 대안이 될 수 있도록 노력해야한다는 점, 셋째 미술가들과 교인들이 시각예술에 대한 새로운 인식을 가질 때 기독예술이 발전된다는 점, 넷째 기독교미술인들의 전존재를 통해 세상에 참여하는 공공성을 가져야한다는 점 등을 대안으로 강조하였다.

한국문화예술교육정책과 학교무용교육의 실천과제 연구

백정희(JungHeeBaek) 한국체육학회 2016 한국체육학회지 Vol.55 No.4

This article, in order to review changes in the Korean cultural art education policies and to study the practical tasks of dance education, firstly, figured out the comprehensive situations of the Korean cultural art education policies, and secondly, discussed the practical tasks in the institutional education field in Korea. The method of this study was make an analysis incultural art education policies and resolve in the institutional education field ,As a result, the current Korean cultural art education policies has progressed from the direction of ``conservation and development of traditional cultural arts`` in 1993 to the present one suitable to the era of cultural enrichment. In the institutional field, the purpose of education has changed from the early rearing of artists to ``conservation and development of the Korean culture`` to rearing citizens and cultural people who can share and enjoy culture to the current rearing creative talents through cultural art. For the practical tasks, it necessitates methodological practical strategies in various aspects and supplement of educators`` expertise in educational field.