한국 근대기 미술 유학을 통한 ‘동양화’의 추구

김소연(Kim So-yeon) 한국근현대미술사학회 2014 한국근현대미술사학 Vol.27 No.-

In line with the further development of the idea of art education in the modern period, changes in the traditional painters were from not only inside but also from their interaction with the outside world. In the latter perspective, painters’ external experiences changed from touring to a more specific purpose of studying abroad. Such a phenomenon became more noticeable around the hosting of Joseon Art Exhibition where the transition to the Oriental painting settled officially. As more painters went to Japan for study, painting styles were directly passed down through the student-instructor relationships, affecting a huge impact on Joseon traditional painting restructure. Around 1920, Joseon students entered some famous hwasuks (small-scale private painting school) including Dyenshindo whasuk. This article focused on Dyenshindo hwasuk and a main painter Yeongil Lee of the modern colored painters to look at his study in Japan and roles in the domestic colored painting. Based on Changwhan Kim’s research on Japanese paintings in Takinogawa in the countryside of Tokyo, this article traced his path from the training period, to return to Korea to work as the first Joseon newspaper illustrator. Other than hwasuks, art schools and art institutions were possible places to learn Japanese paintings. This study also noted main color painters including Hanbok Lee, a governmentsponsored student at the Tokyo Art School, Eunho Kim and Wuseok Choi for their study-abroad period, painting style experiments right after their overseas study, and diverse theme changes by using new materials. In addition, this article identifies the characteristics and case examples after the 1930s when the scope of art study abroad expanded in terms of the number of engaged students and regions. Including the art area, the entire academic areas had increasing number of students going to Japan for study and schools and art institutions with lower admission thresholds opened up their doors, forming a favorable environment for study in Japan. In line with the trend in the Japanese local painters, some Joseon painters such as Geunbae Choi, studied Western paintings along with Japanese paintings and pursue multiple experiences in diverse organizations including hwasuks, art schools, etc. As second generational students studying in Japan appeared, Eunho Kim’s experience in Japan was applied to his students completing a certain period of study, leading to their study in Japan, in turn. Also, study destinations were expanded outside Tokyo or study period grew longer. One good example examined herein is Maljo Jeong who graduated from the Kyoto Municipal Painting School and settled in Kyoto. Especially This article, in order to understand better the trend of the color painters, introduced the color-printed pictorial with some of the works in the Joseon Art Exhibition of which the original was lost and only black-and-white illustrations are passed down.

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.

문신의 일본 유학시기 연구: 초기(1940~50년대) 작품에 미친 영향 가능성

김지영 미술사연구회 2022 미술사연구 Vol.- No.43

This paper focuses on the early works of artist Moon Shin (1922~1995), who transcended the normative boundaries of region and genre during his very active art career, specifically from his time studying art abroad in Japan (1938~45) to before going to France (1940s~50s). Using records and materials from the school and residence of Moon Shin from the late 1930s to mid-1940s, this paper aims to deliberate on the environment that framed his time studying abroad, and what he studied, as well as examine the possibility that his experience studying abroad had an influence on his early work in painting, relief, and print. Research on Moon Shin until now has mostly been focused on his sculptures that were created after going to France (1961). In addition, even in research on his time before going to France, there are not a lot of mention about his time studying in Japan. This may be due to the fact that records of his time in Japan and his work were mostly destroyed or lost during the war. However, his period of studying in Japan was the first time Moon Shin studied art within the education system. It was an important time during which the artist studied the basics of sculpture and laid the foundation for his future art career. Therefore, there is a need to reflect on his time in Japan in order to understand Moon Shin’s art. This paper focuses on Moon Shin’s time studying in Japan, which has been largely obscured until now, to speculate on what education and influences Moon Shin was exposed to as well as to reflect on records of his time in Japan and the early works he created in Korea after returning home. The paper first reviews the history and characteristics of two locations, Nihon Bijutsu Gakko where Moon Shin studied and Ikebukuro Montparnasse where he lived, to identify who Moon Shin associated with and under what environmental conditions. The paper then examines the faculty members teaching Western-style painting at the then-Nihon Bijutsu Gakko to review whether their style or tendencies influenced Moon Shin’s early paintings. The paper also analyzes the similarity between the only remaining piece from Moon’s time in Japan, Self-portrait, and the portrait created by then-famous painter in Japanese art circles, Tsuguharu Foujita (1886~1968), to identify any possible influence. And in the last section, the paper focuses on how Moon Shin, after returning home, worked on not only paintings but also relief and print work. Assuming that he learned about the two genres during his studying abroad in Japan, the paper looks at the faculty members of the sculpture department at Nihon Bijutsu Gakko and points to the possibility of their influence. The paper aims to contribute to a further academic understanding of Moon Shin’s early works that have not been examined in detail so far. 본고는 지역과 장르를 종횡무진 월경하며 왕성한 창작을 했던 예술가 文信(1922~1995)의 화업 중에서 특별히 일본 유학시기(1938~1945)부터 도불 이전까지(1940~1950년대)의 초기 작품에 초점을 맞춘 것이다. 그가 1930년대 후반부터 1940년대 중반까지 몸을 두었던 학교와 주거지에 대한 자료를 단서로 하여 유학 환경과 수학 내용을 추정하고, 유학 경험이 그의 초기 회화와 부조, 그리고 판화에 미친 영향 가능성을 살피는 것이 본고의 목적이다. 지금까지 문신에 대한 연구는 도불(1961) 이후 왕성히 제작된 조각에 치중되어 있었다. 게다가 도불 이전에 대한 연구에서도 일본 유학시기에 관해서는 상대적으로 언급이 결여되어 있다. 이는 아무래도 전란으로 인해 유학 관련 자료 및 작품이 소실된 탓이다. 그러나 일본 유학시기는 문신이 처음으로 본격적인 제도 교육 안에서 미술을 배운 시기로, 조형의 기초를 습득하고 이후 예술 활동의 자양분을 만드는 중요한 시기였던 만큼, 문신의 예술을 이해하기 위해 반드시 고찰할 필요가 있다. 따라서 본고에서는 지금까지 베일에 싸여 있었던 문신의 일본 유학시기에 초점을 맞추어 당시 어떤 교육과 자극들이 문신에게 흘러 들어갔는지, 유학을 둘러싼 주변 자료와 귀국 직후 한국에서 제작된 초기 작품들을 단서로 하여 유추해보고자 한다. 본고의 구성은 우선 문신이 재학한 것으로 알려진 일본미술학교와 거주지였던 이케부쿠로 몽파르나스(池袋モンパルナス)라는 두 장소의 역사와 성격에 대해 살핌으로써 문신이 어떤 환경에서 어떤 인물들과 함께 생활했는지 파악한다. 이어서 유학 당시 일본미술학교 서양화과 교수진을 살피고 그들의 화풍과 성향이 문신의 초기 회화에 어떠한 영향을 끼쳤는지 알아본다. 그리고 유학시기 작품 중 유일하게 현존하는 〈자화상〉에 대해 당시 일본 양화단의 화제 인물이었던 후지타 쓰구하루(藤田嗣治, 1886~1968)가 제작한 〈자화상〉과의 유사성을 분석하고 영향 가능성을 지적한다. 마지막 장에서는 문신이 귀국 직후에 회화뿐 아니라 부조와 판화도 왕성히 제작했던 사실에 주목하여, 유학시기에 두 장르에 대한 수학 가능성을 상정하고 일본미술학교 조각과 교수진을 살펴 그들과의 영향 가능성을 제시한다. 본고가 지금까지 자세히 고찰되지 못했던 문신의 초기 작품군에 대한 이해를 조금이나마 진전시킬 수 있었기를 소망한다.

해방 전 오사카미술학교의 조선인 유학생들의 실태와 귀국 후 행방에 대하여

김지영(Kim Ji-young) 한국근현대미술사학회 2016 한국근현대미술사학 Vol.32 No.-

Korean artists, who had studied abroad in Japan, played an important role in introducing modern oil painting to Korea. Since the majority studied in Tokyo, the center of the Japanese art world, scholars have predominantly focused on art students in Tokyo, who in the postwar period became active in the Seoul art world. In contrast, Korean students in other regions of Japan have received little scholarly attention. There are few sources on art education outside of Tokyo and due to the policy pressuring Koreans under Japanese rule to adopt Japanese names Korean students are difficult to identify. Moreover, in contrast to students in Tokyo, Korean students in other regions of Japan were less active after their return to Korea. Nevertheless, we need to recognize the contribution of these artists to the development of regional art in Korea. Therefore, this article focuses on Korean art students at the Osaka School of Fine Arts, which had a relatively large number of students from Korea in comparison to other regional cities, and aims to illuminate their situation and postwar activities. Osaka School of Fine Arts was established in 1924 by a nihonga painter Yano Kyoson(1890-1965). It was a private school with a free atmosphere and became famous for producing many representative artists of the Kansai region. The entry requirements were not strict and there was little prejudice against Koreans; and so, by the time the school closed in 1944, over ten students from Korea had attended. The majority of students at the Tokyo School of Fine Arts came from wealthy families and made their own decision to go to Japan to pursue art. In contrast, students at the Osaka School of Fine Arts came from families which had moved to the industrial metropole of Osaka from small cities in Korea to improve their economic situation. Also, differently from Tokyo students, these Osaka students returned not to Seoul but to their home regions of Jejudo or southern part of the peninsula, and actively engaged with art education and developing regional art. By, focusing on the largely overlooked Korean art students at the Osaka School of Fine Arts in the interwar period, this article illuminates the migration between regions of Korea and Japan. More importantly, I argue that the Korean students in Osaka did not simply “study abroad” instead, their stay in Japan was deeply entangled with the economic circumstances, such as migration of Korean population resulting from colonial exploitation and industrialization within the empire. In addition, by investigating artists’ activities in the regions of Korea in the postwar period, I demonstrate how the study in Osaka differed in many aspects from studying in Tokyo and suggest that studying in Japan had diverse implications and significance depending on the artists’ destination.

중국 음악교사의 유학경험을 통한 자기통찰 ╶ 예술기반 자문화기술지╶

제기,임지연,소혜진 경희대학교(국제캠퍼스) 예술디자인연구원 2023 예술· 디자인학연구 Vol.26 No.2

The purpose of this study is to explore Chinese music teachers' self-insight process through the experience of studying abroad in Korea through the use of art-based self-culture descriptors. Chinese music teachers' self-insight process through their study abroad experience in Korea. To this end, the researcher used arts-based research and self-cultural descriptive journal as research methods to analyze the insight process. As a result, three themes and six categories were identified: "Lonely child" (category: living away from parents, music is my friend), "Struggling to escape" (category: parents opposed to becoming a music teacher, choosing to study abroad to escape), and "Accepting myself and taking a step forward" (category: facing my lonely self, seeing hope for myself). The significance of this study is to provide a new perspective on Chinese international students who are music teachers by exploring and deeply understanding their insightful experiences of studying abroad..

미국 조리 유학생 만족도에 관한 연구

오석태(Suk Tae Oh) 한국조리학회 2010 한국조리학회지 Vol.16 No.4

This study investigates the satisfaction of the culinary students during their studies in Rhode Island State (RI) in the United States. This research will prepare and give guidance to those who wish to study abroad. For this research, interviews and surveys were conducted and along with total of 68 copies of questionnaire were collected from to the Korean culinary students in the RI from Sep. 2007 to Mar. 2008. The analysis of the data was based on a Likert scale. Findings showed that most students chose to study abroad in their major felt satisfied with their school facilities. The research also indicated that where few challenges, such as language barrier and cultural differences. The inconveniences were with language problems and progress gradually into cultural challenges. In this respect, culinary students need to have more linguistic preparation and as well as to learn the importance of multiculturalism and globalization. Successful study abroad requires both personal and academic preparation. Teacher and parents should give supports and provide the fundamental skills that the students need to have a productive experience.

영국대학의 교양교육 현황과 함의점

김향숙,최진실 한국교양교육학회 2019 교양교육연구 Vol.13 No.6

The purpose of this study is to find out the status and practice of liberal arts education at UK universities, which have been less discussed than in the United States, Japan, and China, and to investigate the aspects that can be referred to domestic liberal arts education. Due to the recent rapid change in the domestic educational environment, the Korean University of Liberal Arts is reorganizing the organization more flexibly to meet the needs of learners and to reduce the need for curriculum reforms to broaden the potential of learners. In this regard, this study proposes a British education model as a reference point that can be applied to domestic education through the analysis of program demands and a program interview and a staff interview. If liberal arts education in Korea is concentrated in freshman to improve basic skills for major education, the liberal arts education of UK universities shows the difference of curriculum for each university, and it is linked to the integrated creative education and master's education through various learning experiences. The type education is aimed in common. Convergence majors in science, natural sciences, social sciences, such as humanities and engineering, arts and humanities and sociology, provide a variety of perspectives on a subject, rather than a single point of view, to induce convergent thinking for learners. In particular, the UK's liberal arts education is a very innovative model in that learners can choose their own programs by selecting a variety of subjects and interdisciplinary subjects, and freely choose their majors accordingly. In terms of enabling flexible curriculum, it is meaningful to cultivate learners' ability to cope flexibly in the rapidly changing Fourth Revolution. The results of the successful case study of liberal arts education at UK universities through the homepage and field survey by university provide another point of view for finding the problems and alternatives of current domestic liberal arts education. In addition, it is possible to focus on “Liberal Arts College,” which has emerged as a template for recent liberal arts innovation, and can contribute to presenting the direction of liberal arts education in the future. 본 연구는 이제까지 국내에서 미국, 일본, 중국에 비해 상대적으로 논의가 적었던 영국대학의 교양교육의 실행여부 및 현황을 파악하고 국내 교양교육에 참조할 수 있는 측면을 알아보는데 목적을 둔다. 최근 국내 교육 환경이 급변하는 이유로 국내 교양교육 대학은 보다 유연하게 조직을 개편하여 학습자의 요구에 들어맞고, 학습자의 잠재력을 넓힐 수 있는 교육과정개편의 필요성을 절감하고 있다. 이에 본 연구는 최근 급부상하고 있는 영국의 학습자 수요 중심 교양교육 커리쿨럼과 프로그램 분석 및 담당자 인터뷰를 통해서 국내 교양교육에 적용할 수 있는 하나의 참조 점으로 영국의 교양교육 모델을 제안한다. 우리나라의 교양교육이 전공교육을 위한 기초능력 제고로 1학년과정에 집중되어 있다면, 영국대학들의 교양교육은 대학마다 교육과정의 차이를 보이면서 다양한 학습 경험을 통한 융 복합형의 창의적 교육과 학 석사 연계 형 교육을 공통적으로 지향하고 있다. 인문과 공학, 예술과 인문사회 등 과학, 자연과학, 사회과학 등과 융합전공으로 어떠한 주제에 관하여 단 한 개의 관점만이 아닌 다양한 관점을 제공하여 학습자들에게 융합적인 사고를 유도한다. 특히 영국의 교양교육은 학습자가 여러 과목 및 학제 간 과목을 직접 선택하여 자신에 맞는 프로그램을 짜고, 전공도 그에 맞게 자유롭게 선택할 수 있다는 점에서 매우 혁신적인 모델이며, 추후 학습자가 자신의 진로를 스스로 결정하는데 유연한 커리큘럼을 활용할 수 있도록 한다는 점에서 급변하는 4차 혁명시대에 학습자 스스로 유연하게 대처하는 능력을 함양시킨다는 의의가 있다. 대학별 홈페이지 및 현지조사를 통해 진행한 본 연구의 영국대학의 교양교육의 성공 사례 조사 결과는 현 국내 교양교육의 문제점과 대안을 모색할 수 있는 또 다른 관점을 제공하므로 하나의 참조점이 될 수 있다. 아울러 최근의 교양교육 혁신을 담을 수 있는 탬플릿으로 부상하는 ‘학부대학(Liberal Arts College)’에 초점을 맞추어 제고해 볼 수 있으며 또한 앞으로 교양교육의 방향성을 제시하는데 기여할 수 있어 그 의의가 있다.

통계로 보는 해방 전 재일본 조선인 미술유학생

김지영(Kim Jiyoung) 한국근현대미술사학회 2020 한국근현대미술사학 Vol.40 No.-

한국에 근대적 ‘미술’의 개념이 수용되고 정착한 데에는 20세기 초 일본에서 유학하고 돌아온 미술가들의 역할이 지대했다. 그러나 지금까지 미술유학생에 대한 연구는 몇몇 특정 학교나 단체의 인물들이 다뤄진 적이 있지만, 그들의 전체상을 파악한 시도는 없었다. 지금까지 조사된바, 1900년대 초부터 종전까지 약 40여 년간 일본의 미술학교에 재학한 적 있는 조선인은 총 10개교에 500여 명으로 추정된다. 이 중 429명은 선행연구에 의한 결과로, 한일 양국의 기관에 의한 공동조사였기 때문에, 자료의 정확성뿐 아니라 조사효율 또한 높았다. 나머지 7개교 71명은 필자가 2011~17년간 해당 학교 방문조사결과 및 학교기관지, 한일의 신문, 잡지, 도록 등에서 수집한 것이다. 아직 완성된 집계는 아니지만, 조사 완료된 학교들을 비교기준이자 대상으로 삼으면서 현시점에서 알 수 있는 근대기 미술유학의 상황과 특성을 논하고자 한다. 본고의 목적은 미술유학생이 언제 어느 기관에 얼마만큼 있었고, 무엇을 배웠는지, 귀국 후 어떤 활동을 했는지에 대해 학교별, 연도별, 전공별, 출신지별로 분류하여 그 규모와 분포상황을 파악하는 데 있다. 나아가 유학생들의 활동 범위를 당시 일본화단 속에서 살피고 귀국 후에 어떤 역할을 담당하게 되었는지 그룹별로 정리하고자 한다. 결론적으로 근대기 미술유학이 젠더와 장르, 지역 등이 지니는 계층구조(hierarchy)와 얽혀 다중의 모양새를 하고 있었음을 밝히고, 또한 유학생들의 유학경험이 귀국 후 한국에서 유사한 역할을 수행하는 것으로 귀결했음을 지적한다. Korean artists, who studied in prewar Japan, played an important role in introducing modern concept of fine arts to Korea. However, previous scholarship has predominantly focused on only a few students from certain schools or groups. There has been no attempt to understand them in totality. According to my research, around 500 Korean art students attended ten art schools in Japan during the 40 years from the beginning of the 1900s to 1945. Previously, organizations from Korea and Japan cooperated to research students at three major art schools. As a result, they created a list with names of 429 students. The accuracy of their data is very high. From 2011 until 2017, I have collected information on the remaining 71 students at seven schools through visits to these schools and research in journals, newspapers, magazines, and catalogs in both Korea and Japan. My list with 500 names of art students is not complete. However, it allows me to analyze the overall situation and characteristics of Korean art students in Japan in the prewar period. The purpose of this article is to identify the number and distribution of Korean art students; the time and place of their studies, what they learned, and what they did after returning to Korea. To do so, I classify them by school, period of attendance, majors, and the regions in which they were born. Furthermore, I examine the scope of their activities in the Japanese art world at the time and investigate their roles after their return to Korea. I argue that studying fine arts in Japan in the colonial period reflects multiple hierarchies of gender, artistic genres, and place. I also demonstrate that artists, who were affiliated with the avantgarde or academic painting during their period of study, affiliated with similar artistic circles in the Korean art world after their return.

韓ㆍ日 近代 西洋畵 受容과 그 影響

박성희 대한일어일문학회 2011 일어일문학 Vol.49 No.-

1910~30년대 여성 미술교육의 젠더화와 전시문화 연구

고선정 한국디지털정책학회 2021 디지털융복합연구 Vol.19 No.5