Research on the Current Status of College Students of South Korea in Practising Chinese kung fu Lessons

( Zhang Zhi ),( Zhou Ying Li ) 한국체육학회 2015 국제스포츠과학 학술대회 Vol.2015 No.1

Purpose: To understand and master current situation about college students of South Korea in learning Chinese martial arts courses, as well as real problem and environment about Chinese martial arts courses launched in universities of South Korea, to raise corresponding counter measures and suggestions on development of kung fu lessons in universities of South Korea, to promote the development of Kung Fu sports in universities of South Korea , to serve Internationalization of the Chinese Kung Fu sports. Method: This paper was based on a questionnaire survey which was made in Yongin Univerisity.119 questionnaires were distributed and all of them were taken back, and lastly effective rate is 100%. The survey was for getting familiar with current situation about how college students of South Korean are learning Chinese martial arts. Deep interview was made to know better about teaching and training situation of specific Chinese martial arts between teachers and students. Besides, through learning Chinese martial arts, we’d love to figure out some questions. For example: whether college students of South Korea can deepen the understanding of China, Chinese culture and Chinese martial arts or not? Whether they are more willing to learn Chinese culture and Chinese martial arts, as well as how do colleges and universities of South Korean promote Chinese martial arts in a more efficient way? Result: Few universities in South Korea are currently establishing Chinese martial arts courses, The development of sports of South Korea have private characteristics and their own way , so being foreign sports project in South Korea, promoting can be certain difficult, but the trend is very good; students are satisfied with teacher``s attitude and approach of teaching in the learning process, and also are able to understand the Chinese culture through learning martial arts, but what students learned about Chinese culture is vague, which are not clear and concrete, not to mention identity of Chinese culture, which are related with the forms of promotion of martial arts and means; While comparing with some specific sports like South Korea Taekwondo, Chinese martial arts is a lack of skill and difficult to learn the complex movement; but for most of the students, they are willing to keep on learning Chinese martial arts if there are any opportunity in the future. Conclusion: As Chinese martial arts became a formal event in some international competitions like the Asian Games and World University Games, as well as program of the Olympic Games martial arts of China, more and more countries have gradually realized the importance of China martial arts project, so it’s an inevitable trend that Chinese martial arts are established in universities of South Korea; The contents of teaching should be adaptive to the psychology and demand of college students of South Korea when Chinese martial arts are taught in universities of South Korea. Here are some examples: the martial arts project should be more simple, interesting and practical, and also a variety of teaching methods should be adopt in the process of teaching, such as the combination of theory and practice, the combination of music and video, and collective creation and performance of teaching content. This improvement will enhance the learning enthusiasm of stu- dents and achieve better teaching effect. In addition; it’s also another way of promoting Chinese culture when Chinese martial arts are more widely established in universities of South Korea, So Chinese culture should be deeply expressed in the dissemination contents of Chinese martial arts, methods of teaching and process of teaching and practicing. The nature of China martial arts should be raised as culture of arts, and eventually college students of South Korea will deeply grasp new Chinese ideas of culture.

The Significance in Martial Arts History as Warriors Stratum for Constructing Chinese Wu Xia

( Yurong Lu ),( Ik Ki Jeon ) 한국체육학회 2015 국제스포츠과학 학술대회 Vol.2015 No.1

Purpose: For a private study about Chinese Wu Xia, a representative warriors stratum of ancient China, this study is about to learn in what environment of times was Chinese Wu Xia formed and how did the social trend of that times influence on forming Chinese Wu Xia. Based on that, this study is also about to investigate what significance does the construction of Chinese Wu Xia have in the history of Chinese martial arts. Method: This study used documentary research to collect kinds of Chinese classics, academic publications and theses and then analyzed and compared them. Result: People in primitive Chinese age put stress on martial arts and developed it consistently. Consequently, they have gradually formed martial spirit. Seeing the records of Chinese classics like Lushi Chunqiu, Rites of Zhou and Zhuangzi, it can be said that martial arts like swordmanship actively spreaded according to the martial spirit among people in the Spring and Autumn & warring state period (B.C.770-221) and even a warriors`` group with professional martial art appeared. Scholar, the initial warriors stratum in Chinese history, was born under the environment of times with such martial spirit. However, the scholars stratum failed to last long but gradually got differentiated since Late Spring and Autumn due to frequent war and chaotic social structure. Some of the scholars gave up to be warriors and chose literati instead, while the rest determined that martial art was more important than liberal arts and kept focusing on training martial arts. Two groups differentiated from such scholars stratum started to be called as “Confucianism” in the case of literati and “Xia” for warriors. Since then, Chinese Wu Xia had worked on positive lines with their basic feature as martial arts for a long time in ancient Chinese history and they became a representative warriors stratum of ancient China. As Chinese Wu Xia was formed like that, Chinese martial arts went specialization for the first time in history, which did an important leading role for the martial arts to develop specially in the later generation. Martial arts at that times was also a basic function of Chinese Wu Xia, through which they worked. Therefore, construction of Chinese Wu Xia can be seen to have promoted Chinese martial arts to go occupational. Conclusion: Having been differentiated from scholars stratum in Late Spring and Autumn, Chinese Wu Xia is a representative warriors stratum in ancient China. Following the construction of such stratum, Chinese ancient martial arts went professional and occupational. In addition to that, it can be seen as an unignorable precondition in specialization process of martial arts of later generation.

Lay’s The Chinese as They Are (1841) as an Excellent Example Illustrating the Importance of Studying Art Reception in Art History

Kwok, Yin Ning 서양미술사학회 2015 서양미술사학회논문집 Vol.43 No.-

This paper illustrates in what ways writings in travel books or other written forms are similar to art works, and are worth studying, and challenges the dominant methodology of studying art works/images in art history. It is to emphasize that studying both image making history and image reading history is to make our understanding of art history complete, otherwise, we would miss out half of the art history because it takes both art creation and art reception to complete the whole existence of art. It is thus very important for art historians to research on art reception embedded in writings about art, and to investigate into art creation or production which embodied in art works/images. George Lay’s The Chinese as They Are (1841) is an excellent example demonstrating a very high level of receptive creativity in the entire period of my research (1600-1860). Lay’s ground-breaking discussion of painting and calligraphy pushed the level of European understanding to the highest ever. He evaluates Chinese painting based on Chinese aesthetics like the use of line, and particular canons and rules for learning painting. All these are elements constituting Chinese artistic values with which pictorial features function very differently from the European ones. Lay’s evaluation indicates that he makes a paradigm shift because his judgment, unlike others, is not based on European standards. Not being bounded by the European standards, Lay pays attention to many visual qualities, sees another kind of realism conveyed by lines and curves, appreciates ways of rigorously studying the depicted subjects; and recognizes the portrayal of the subjects’ (humans, plants, and birds) internal emotion and attitude, which they are not found in European painting. On calligraphy, his understanding of calligraphy is exceptional and extremely profound in the history of the European reception of Chinese calligraphy. In the whole period of the present study he was the first and only one to identify four types of script, to appreciate Chinese writing as an independent art form, and to evaluate this art based on Chinese aesthetics and artistic principles. Lay’s high level of receptive creativity in understanding Chinese art was extraordinary and unprecedented. It thus exemplifies and illustrates that it is very essential for art historians to research on written texts in order to study art reception which constitutes half of art appreciation.

전 지구화 시대의 중국 현대미술과 비평

고동연(Koh Dongyeon) 현대미술사학회 2011 현대미술사연구 Vol.0 No.29

As Chinese contemporary art, especially what is called “Political Pop Art”, became the center of attention at international biennialsand exhibitions during the early 1990s, critics of Chinese art faced a number of important challenges. They had to ‘explain’ not only the distinctive historical and artistic contents of individual art works and artists, but also Chinese contemporary art within the history of the international contemporary art. The critics and curators on Chinese contemporary art had to fight against the dominant approach toward Chinese contemporary art in the West; to bring the balanced view between artistic tradition in China and the development of contemporary artistic language; to examine Chinese art relative to the concept of avant-garde, based on the “critical” tradition of contemporary art in west. This study concentrates on Wu Hung and Gao Minglu, the two influential art critics and art historians on contemporary Chinese art and culture. As both were educated in China and western academia, they can serve as useful cases for understanding the challenges that art critics of the non-western world should face. I will particularly highlight Wu Hung’s attempt to “decontexturalize” as well as “recontexturalize” Chinese contemporary art relative to Chinese literary and artistic tradition on the one hand, and the development of conceptual and books art in the west on the other. Unlike Wu Hung, who became extremely reserved in using western theories, Gao Minglu applied the concept of avantgarde in order to introduce a series of critical and rebellious arts in China from the late 1980s and onwards. For Minglu, western theories and concept enable him, in a way, to criticizethe repressive Chinese government and advocated Chinese avant-garde art “outside” of China. By looking at the key example of Wu Hung’s and Gao Minglu’s art criticism, this study aims to touch upon the problem, limitation, and possibilities that art critics on nonwestern arts have to deal with in the globalized art world context; how international artistic languages or theories can be used, appropriated by critics on non-western art world to maneuver between non-western and western, or between the outside and inside of the tradition and society from which the given art works derived.

우훙의 중국미술사 연구: 미국의 중국미술 연구의 학문적 성장과 관점의 변화

김혜원 미술사와 시각문화학회 2007 미술사와 시각문화 Vol.6 No.-

Among a number of scholars in the field of Chinese art history, Wu Hung stands out for his extensive knowledge in Chinese literature, history. and religion and for his sophisticated storytelling skills and original insights in writing art historical narratives that are theoretically inspiring and themat?ically exciting, This essay explores Wu Hung's major works on Chinese art of the pre-modem period in an attempt to introduce the finest examples of scholarship in Asian art history in the West and to understand the recent achievement and problem in the field of Chinese art history. Wu Hung's works assessed in this essay are The Wu Liang sbrine: The Ideology of Early Chinese Pictorial Art (1989), "Art in a Ritual Context: Rethinking Mawangdui" (1992), "what is Bianxiang? -On the Relationship between Dunhuang Literature and Dunhuang Art" (1992) and Monumentality in Early Chinese Art and And Arcbitecture (1995). These scholarly works demonstrate how Wu's consistent interest in iconography, function and rit?ual as well as theoretical issues such as “word and image” and political questions associated with historical monuments has laid the foundation for his scholarship. In addition, the works show that much of Wu's originality derives from his thorough investigation of a broad range of texts and newly discovered archaeological materials. When all these elements considered, it is difficult to deny that Wu's works have made great contributions to the field. His works are of significance in challenging the Eurocentric view that has dominated the study of Chinese art in the West since the 19th century and in proposing a new Chinese art history with fuller emphasis on cultural and historical contexts. Consequently, his writings played a crucial role in expanding the field and in furthering research on the hitherto relatively neglected subjects such as Buddhist art and funerary and ritual art. Furthermore, Wu's training both in China and in the U.S. has led him to explore critical issues in Chinese art from theoretical perspectives and to produce stimulating and convincing narratives that appeal to both the Western and Asian readers. The last section of my essay focuses on Robert Bagley's critical review of Wu's Monumentality in Early Chinese Art and Architecture and the subsequent debate on the problem of “Chineseness” and the issue of the "cultural insider" versus “cultural outsider” in understanding and describing Chinese works of art. Although one cannot say that this debate was overall productive, it brought up a sensitive issue regarding the difference in approach between American-born and educated scholars and Asian-born and U.S. -trained scholars. The notably increased number of Asian-born and U.S. -educated scholars and their rise to prominence in the field of Chinese art history have further complicated the issue. The debate provides insights into the ways in which a scholar's cultural and educational back?ground relates to questions of “how to look at works of art” and “from what perspective.”

중국현대미술 전개과정에서 추상미술이 가지는 의미

신광 한국기초조형학회 2023 기초조형학연구 Vol.24 No.4

The purpose of this study is to confirm the importance and meaning of Chinese abstract art and its discourses in maintaining the cultural diversity of Chinese modern art in the current situation of globalized contemporary art. To this end, this paper first looks back on the development process of Chinese abstract art and confirms the historical meaning of its specific practices. Furthermore, based on the establishment of the relationship between Chinese abstract art and Western abstract art, the purpose and meaning of the theories are analyzed by tracking models that emphasized traditional Chinese thinking and suggested the possibility of conceptual abstraction. In particular, Chinese abstract art has been re-examined by several theorists who have found a mixture of Chinese real society and tradition over the past 20 years. This study confirms the relationship between the discourses and the theory in which the ‘independence’ of Chinese art was emphasized in the interpretation of Chinese modern art and emphasizes its limitations. In addition, it is judged that the occurrence, development, and discourse of abstract art in a specific cultural area of China were combined with its own cause and socio-cultural environment. It is consistent with the cultural hybrid phenomenon that Chinese society experiences in the process of modernization along with Westernization. Therefore, this study positively accepts the concept of “post-abstract” that enabled the interpretation of abstract implementation of conceptual art by appropriately tracking its potential as genealogy rather than confrontation in establishing a relationship with Western abstract art. In conclusion, the basis for the justification of abstract art in Chinese modern art cannot be confirmed through the dichotomous structure of the East and the West, but its specific meanings must be found in the relationship with complex and diversified contemporary culture.

‘한문 고전 리더십’ 과목을 통한 새로운 ‘한문 교양’ 유형의 모색

송병렬 한국한문고전학회 2022 漢文古典硏究 Vol.44 No.1

This paper seeks Measures to develop the types of ‘Chinese classics as a liberal art’ through the subject ‘Leadership in Chinese Classics’. Recently, “Liberal arts subject” that have been traditionally conducted in universities such as ‘Korean language’ and ‘English language’ are changing into various forms. There may be various factors of change, but the main factor of change is the transition of the ages. As a result, changes in “the liberal art subjects related to Chinese character” have also become inevitable. The Chinese language subjects operated by universities as liberal arts include “Basic Chinese Literature”, “Chinese Literature”, “The classics of the Orient”, “Chinese Character in living”, “Story Chinese Literature”. The contents of these subjects are mainly Chinese characters, Chinese characters, idioms, and sentences in Chinese characters. This is the reading of basic knowledge of Chinese character-related. Such ‘Chinese literature reading’ is a liberal arts subject that requires a considerable level in the field, such as ‘English language’ or ‘Korean language’. Of course, these subjects are still valid. However, for the changing generation, it is necessary to develop non-reading “Chinese character-related Liberal art subject”, and various non-reading “Chinese character-related Liberal art subject” needs to be developed. In the midst of this situation, it has already been confirmed that ‘Leadership in Chinese Classics’ has been developed as a non-reading “Chinese character-related Liberal art subject”. Analyzing the process of developing “Leadership in Chinese Classics” and categorizing it, it will be possible to develop various non-reading “Chinese character-related Liberal art subject”. Therefore, the process of developing ‘Leadership in Chinese Classics’ was analyzed. The first is a new perception of liberal art. The second is the composition of content related to ‘leadership’ in Chinese classics. The third is a shift in perception of classics. It was confirmed that what was developed through this process was ‘Leadership in Chinese Classics’. These classical development processes can be summarized into three categories. The first is to break away from the existing concept that “Chinese Literature” should deal with the original of Chinese characters, Chinese literatures, idioms in Chinese characters, and sentences in Chinese characters in order to cultivate non-reading “Chinese character-related Liberal art subject”. The second is the theme of ‘leadership’. The third is to organize the contents of the Chinese classics related to ‘leadership’. In this way, it was confirmed that a ‘the leader who meets through classics’ was created as a “Chinese character subject in liberal art” The key element of typification here is the theme of 'leadership'. In other words, it is content related to Chinese characters. It is to set contents and organize contents related to Chinese characters. It was categorized as content-type Chinese literature culture. There are three processes necessary for 'content-type Chinese literature culture'. First, 'Chinese literature culture' abandons the idea of 'reading Chinese literature materials'. Second, a subject that can be used as a culture among the 'Chinese Literature Classical Contents' is decided. Third, it is organized according to the content of 'Chinese Literature Classic'. Relatively, ‘Chinese Literature Classic’ is a rich repository of materials containing the value and culture of East Asian classics. Accordingly, ‘Chinese character in Liberal art’ developed as a 'content type' can serve as a rich value and cultural provider. 이 논문은 ‘한문 고전 리더십’ 과목을 통한 ‘한문 교양’ 유형의 개발을 논의한 것이다. 최근 대학에서는 ‘교양 국어’ ‘교양 영어’ 등 전통적 교양 과목이 다양한 모습으로 변화하고 있다. 다양한 변화 요인이 있겠지만, 주요한 변화요인은 시대적인 변화이다. 이에 ‘한문 관련 교양’의 변화도 불가피해졌다. 대학들이 교양으로 운영했던 한문 과목은 ‘기초한문’, ‘교양한문’, ‘동양의고전’, ‘생활한자’, ‘이야기고사성어’, ‘생활한문’ 등이다. 이들 과목의 내용은 주로 한자, 한문, 고사성어, 한문 문장이다. 이는 기초적인 한문 지식의 강독이다. 이러한 ‘강독형 한문 교양’은 ‘교양 영어’ 또는 ‘교양 국어’와 같이 해당 분야에 대한 상당한 수준을 요구하는 교양 과목이다. 물론 이러한 과목은 여전히 유효하다. 다만 변화하는 세대를 위해서는 비강독형 한문 교양이 필요하며, 다양한 비강독형 ‘한문 교양’을 개발할 필요가 있는 것이다. 상황이 그런 가운데 이미 비강독형 ‘한문 교양’으로 ‘리더십 한문 교양’이 개발된 것을 확인했다. ‘리더십 한문 교양’이 개발된 과정을 분석하고, 이를 유형화하면 다양한 비강독형 한문 교양을 개발할 수 있을 것이다. 이에 ‘리더십 한문 교양’이 개발된 과정을 분석해 보았다. 첫째는 교양에 대한 새로운 인식이다. 둘째는 한문 고전에서 ‘리더십’과 관련한 콘텐츠 구성이다. 셋째는 고전에 대한 인식의 전환이다. 이러한 과정을 거쳐서 개발된 것이 ‘리더십 한문 교양’이다. 이러한 고전 개발 과정을 정리하면 세 가지로 정리할 수 있다. 첫째는 비강독형 한문 교양을 위해 ‘한문 교양’은 ‘한자, 한자 어휘, 한문’의 원전을 다루어야 한다는 기존 개념을 탈피한 것이다. 둘째는 ‘리더십’이라는 주제를 정한 것이다. 셋째는 ‘리더십’ 관련 한문 고전 내용을 구성한 것이다. 이것이 ‘리더십 한문 교양’으로 ‘고전에서만나는리더’가 만들어진 과정임을 확인했다. 여기서 유형화의 핵심은 ‘리더십’이라는 주제이다. 즉 한문 관련 콘텐츠이다. 콘텐츠를 정하고 한문 관련 콘텐츠를 구성한 것이다. 하나의 주제 유형이 콘텐츠형 한문 교양으로 유형화 된 것이다. ‘콘텐츠형 한문 교양’에 필요한 과정은 다음과 같이 세 가지이다. 첫째, ‘한문 교양’은 ‘한문 자료에 대한 강독’이라는 생각을 버린다. 둘째, ‘한문 고전 내용’ 가운데 교양으로 삼을 만한 주제를 정한다. 셋째, ‘한문 고전’ 콘텐츠에 맞게 구성한다. ‘한문 고전’은 동아시아 고전의 가치와 문화를 담은 풍부한 자료의 보고이다. 이에 ‘콘텐츠형’으로 개발된 ‘한문 교양’은 풍부한 가치와 문화 제공자가 될 것이다.

중국 현대미술의 문화정체성에 대한 미술사적 고찰: 1978년 이후 정치사회적 변화와 미술의 관계

권은영 미술사학연구회 2009 美術史學報 Vol.- No.33

The purpose of this study aims to understand the formation of the cultural identity which has 'hybridity' embodying locality and globality in Chinese contemporary art since 1978. Through analyzing concrete art works, I searched for the process of obtaining Chinese cultural identity with a close interrelation between sudden change in socio-political context and art. In the first chapter, following the argument of Michael Sullivan, I list the reason why Chinese art should be deindividualized after birth of the P.R.China with its' stubborn socialist policies. Chinese art world developing socialist realism had had an intimate relationship with the politics using art as a tool for strong socialism. These socio-political characters are the base for advancing the Chinese own locality. Especially through the Cultural Revolution, artists worked all together making huge art projects without their own names. The political shift in these generations brought on the economic reformation which gave rise to Chinese art since 1978. After easing socialist restriction with the open-door policy, artists who had been neglected for 30 years were faced with gaining freedom of creation like ‘Stars’ in 1979. In the 1980s, Chinese locality materializing in the socio-political context had been changed by an active influx of western civilization including ideology and culture. It gave chance to Chinese artists to come in contact with various western schools. It was the inflow that brought many kinds of changes in Chinese society and gave birth to the first Chinese avant-garde movement starting with the ’85 Movement’in the 1980s. The 1989 Movement for Democracy, one of the Tiananmen Square protests, spread antipathy and mutual distrust throughout the country. It encouraged antiestablishment avant-garde art, and ‘Chinese New Art: Post 1989’ exhibition by Li Xianting introduced ‘Cynical Realism’ and ‘Political Pop’ which were the first step of Chinese art to the international art world. The forced dispersion of the Old Summer Palace, known as the Garden of Perfect Clarity, which was the Mecca for liberal intellectuals caused diversification of contemporary art. In accordance with an article by Chinese critic Li Xianting, I have arranged the five tendencies of Chinese contemporary art in the 1990s. These five characteristics are the base of reading postmodernism in Chinese contemporary art. Lately, there are lots of debates among scholars from east and west about whether or not Chinese art has postmodernity. In the third chaper, I analyzed the on-going debates through comparisons of the perspective of Sheldon Hsiao-peng Lu and Wang Ning. I described the Chinese cultural identity focusing on Cai Guo-Qiang’s works embodying both locality and globality. Finally, I explained Chinese art as one of the leading forms of contemporary art by analyzing his works, the first Chinese contemporary artist to have a solo exhibition at the Guggenheim Museum. In this development, I could see how the Chinese art world achieved its locality which accepted capitalistic market systems in socialist society. Chinese contemporary art has been characterized as having globality even though it does not coincide with western avant-garde and postmodernism. It is significant that my study has understood Chinese cultural identity through on-going exhibitions and cutting-edge artists based on earlier studies from east and west. Chinese hybrid art has succeeded in both the art market and academics. Although Chinese contemporary art has been too commercialized, it would be one of the concrete examples of a good model for Asian art.

중국 동시대 추상미술의 해외 진출 연구

김새미 한국동양예술학회 2024 동양예술 Vol.62 No.-

1980년대 초반까지만 해도 검열과 통제의 대상으로서 사회적으로 비난을 받았던 중국의 추상미술은 지난 40여 년간 수많은 곡절을 겪으며 발전해 왔고, 오늘날에는 중국 동시대미술의 가치를 다양화하며 그 영역을 확장하고 있다. 중국의 현대사는 2차 세계대전보다는 1949년 중화인민공화국 정부 수립 이후의 국내 정치 상황에 더 큰 영향을 받았기 때문에 전 세계적 변화의 흐름과는 별개로 자국의 독특한 현대 미술사를 써내려갔다. 1989년 이래 중국 동시대미술의 해외 진출이 본격적으로 시작되었으나 1980년대에 출현한 새로운 미술의 흐름이 사회적·문화적 비판에 집중되어 있었기 때문에 추상미술에 대한 관심은 상대적으로 빈약했다. 구상회화와 설치미술, 개념미술 등의 주류화로 인해 주변부로 밀려난 중국의 추상미술은 2000년 이후부터 집단적으로 해외에 소개되었다. 2000년대 중반부터 구상회화에 대한 관심과 주목도가 감소하면서 해외의 개인화랑들이 추상미술 전시를 열기 시작했다. 한편 해외에서 활동하는 중국 큐레이터가 증가하면서 자국의 미술사와 이론에 대한 이해를 바탕으로 기획된 중국 동시대미술 전시가 해외에서 개최되는 경우가 늘어났고 이에 따라 추상미술이 포함된 국제전의 숫자가 늘어났다. 이들은 자국의 현대 및 동시대미술에 대한 이해를 바탕으로 동시대 추상미술에 관한 새로운 관점을 제시했다. 2000년대에 중국의 동시대 추상미술이 주로 상업화랑을 통해 해외로 진출했다면, 2010년대에는 사립미술관에서 개최된 전시에 중국의 현당대 추상미술이 포함되는 사례가 점차 증가했고 추상미술을 단독 주제로 한 전시도 열리게 되었다. 이러한 과정을 통해 서양인에게 이국 취향의 대상이었던 중국 전위미술이 아니라, 서양과 동등한 입장에서 동시대미술을 구성하는 한 양식으로서 중국의 동시대추상미술이 주목을 받게 되었다. 중국의 동시대 추상미술은 지배적 양식에 대한 저항이자 표현의 자유를 상징하는 양식이었다. 그러나 2000년 이래 주류화, 세계화, 미술시장으로의 편입 등으로 인해 추상미술의 경제적 가치는 높아지고 그들이 본래 지녔던 전위정신은 약화된는 양상을 보였다. 추상미술의 상업화와는 별개로 중국 동시대 추상미술에 대한 연구는 여전히 미흡하며 향후 더 많은 발전을 보일 것으로 기대된다. Chinese abstract art, which was socially criticized as an object of censorship and control until the early 1980s, has developed through numerous twists and turns over the past 40 years, and today it is expanding its scope by diversifying the value of Chinese contemporary art. Chinese abstract has been collectively introduced overseas since 2000. From the mid-2000s, as interest in and attention to figurative painting has decreased, overseas private galleries have begun to hold abstract art exhibitions. Meanwhile, as the number of Chinese curators working overseas has increased, more exhibitions planned were curated on the basis of understanding of Chinese art history and theory, the number of overseas exhibitions including abstract art has increased accordingly. While in the 2000s, Chinese contemporary abstract art mainly advanced overseas through commercial galleries, in the 2010s, the number of cases where Chinese contemporary abstract art was included in exhibitions held at private art museums gradually increased, and abstract art was the sole theme. Chinese contemporary abstract art was a style that symbolized resistance to dominant styles and freedom of expression. However, since 2000, due to globalization and incorporation into the art market, the economic value of abstract art has increased and its original avant-garde spirit has been weakened. Regardless of the commercialization of abstract art, research on Chinese contemporary abstract art is still insufficient and is expected to see further development in the future.

중국 무술문화의 역사철학적 기저와 현대적 의의

당준산,김동규,김상범 한국체육철학회 2019 움직임의철학 : 한국체육철학회지 Vol.27 No.4

Chinese Martial arts have developed over the centuries in China. The ideas changed with the evolution of Chinese society and over time acquired some philosophical bases: Confucianism, Taoism and Buddhism. Moreover, Chinese Martial arts have sufficiently embodied in traditional cultures such as the unity of heaven and human, unity of knowledge and action, Yin-Yang theory, Taiji theory, Five-Element theory, traditional morality and national spirit. However, globalization could cause a crisis or an opportunity regarding Chinese martial arts. According to Western ‘cultural hegemony’, Chinese martial arts are faced with an international environment in which the succession of traditional cultures provide ‘opportunity and crisis for advancement’. These changes ultimately result in the loss of traditional culture practices. Therefore this study is based on this more realistic perception. This study will search for issues and modern implications of Chinese martial arts in its present form considering its historical and philosophical background. First, major challenges include saving and preserving traditional Chinese Martial arts. In order to do this, successors should act swiftly and pursue constant innovation. Second, Chinese Martial arts should avoid obsessing with traditional martial arts and over pursuing Western sports. Third, Chinese Martial arts in schools play an important role in perpetuating traditional Martial arts culture. Schools are recommended to host traditional Chinese Martial arts contest encouraging training and encourage voluntary participation among the youth. 중국 전통문화의 한 영역인 무술은 유구한 역사 속에서 변화와 발전을 거듭하며, 유가·도가·불가 등의 사상을 흡수하였다. 또한 천인합일관, 지행합일관, 음양학설, 태극설, 오행설, 무덕, 민족정신 등의 전통문화가 무술에서 체현되고 있다. 이러한 중국무술은 세계화의 부상으로 새로운 기회와 위기에 직면해 있다. 서구식 사회구조와 사고방식의 확산에 의해 중국의 전통문화와 가치가 도전을 받고 있고, 그 중심에 중국무술이 자리하고 있다. 이러한 변화는 결국 전통문화의 유실로 나타나고 있으며, 이 연구는 이러한 현실적 인식을 기반으로 수행되었다. 즉 유실되어가는 중국 전통무술의 역사철학적 배경을 탐색하고 현대적 의의와 당면과제를 논의하여 그 대안을 찾아보려는 학문적 시도이다. 이는 중국은 물론 한국을 비롯한 동양의 무술문화를 정초하는 근간이 될 것이다. 논의 결과 다음과 같은 결론을 도출하였다. 첫째, 중국의 전통무술문화를 계승하고 보존하는 것이 주요과제이며, 이를 위해서는 계승자들의 책임 있는 자세와 끊임없는 혁신이 요구된다. 둘째, 중국 경기무술문화에 있어서는 전통무술에 집착하거나 서구스포츠를 지나치게 지향하는 극단적인 자세를 지양할 필요가 있다. 셋째, 중국의 학교무술문화는 전통문화계승에 중요한 역할을 하며, 이를 활성화하기 위해서는 다양한 경연대회의 개최를 통해 수련목표를 제공하고 자발성을 이끌어내어야 한다.