광복 이후 상해 仁成學校의 재개교와 변천

김광재 한국근현대사학회 2010 한국 근현대사 연구 Vol.54 No.-

It is well known that Inseong School in Shanghai had developed natioanl awareness of children of overseas Korean in Shanghai area since its establishment in 1916 until it was forcibly closed down by the Japanese Empire in 1935. However, not many people are aware of the fact that Inseong School reopened in 1946 after the Liberation and fulfilled national education to children of overseas Korean in Shanghai area until 1979. The reason is that Inseong School after the independence is not directly related to independence movements like the Korean Provisional Government during the Japanese Colonial Era. Second, the overseas Korean society and Inseong School after the independence became forgotten being as mutual contact with Korea had been ceased for a long period of time after the Chinese Communist Party conquered the country in 1949 and the People’s Republic of China was established. The Japanese Empire declared surrender in August 1945, which is 10 years after Inseong School had been closed down. Koreans who were residing in Shanghai hurried to reopen Inseong School. Inseong School, reopened in June 1946, inherited the ideology of Inseong School from the period of a provisional government A fundamental educational policy was to inculcate national awareness to students and cultivate talents who pursue independence, democracy, freedom, and happiness. The reopened Inseong School also played a role of mental pivot for Koreans in Shanghai just like Inseong School form the Japanese Colonial Era. Koreans residing Shanghai continued to do activities of inspiring ethnic identity by gathering at the hall of Inseong School and doing performance activities of ethnic culture under guidance of the Shanghai Korean Society, which is a group of overseas Koreans, or the Korean Embassy in Beijing and the consulate in Shanghai. The population of Koreans in Shanghai gradually decreased due to no supplement of people with a closed characteristic of a socialist state. In 1979, Inseong School got merged into the close Chinese school with 5 students. In short, Inseong School, reopened in 1946, greatly contributed in developing national education and identity of children of overseas Korean in Shanghai area. Moreover, it played a role of mental pivot for overseas Korean society in Shanghai. Luckily, vacancy of Inseong School is filling by Shanghai Korean School, which was established in 1992 by Koreans who entered after establishment of Korea and China diplomatic relation. Shanghai Korean School is clarified as that it inherits spirit of Inseong School, which was established in 1916, reopened in 1946, and maintained until 1979. It is well known that Inseong School in Shanghai had developed natioanl awareness of children of overseas Korean in Shanghai area since its establishment in 1916 until it was forcibly closed down by the Japanese Empire in 1935. However, not many people are aware of the fact that Inseong School reopened in 1946 after the Liberation and fulfilled national education to children of overseas Korean in Shanghai area until 1979. The reason is that Inseong School after the independence is not directly related to independence movements like the Korean Provisional Government during the Japanese Colonial Era. Second, the overseas Korean society and Inseong School after the independence became forgotten being as mutual contact with Korea had been ceased for a long period of time after the Chinese Communist Party conquered the country in 1949 and the People’s Republic of China was established. The Japanese Empire declared surrender in August 1945, which is 10 years after Inseong School had been closed down. Koreans who were residing in Shanghai hurried to reopen Inseong School. Inseong School, reopened in June 1946, inherited the ideology of Inseong School from the period of a provisional government A fundamental educational policy was to inculcate national awareness to students and cultivate talents who pursue independence, democracy, freedom, and happiness. The reopened Inseong School also played a role of mental pivot for Koreans in Shanghai just like Inseong School form the Japanese Colonial Era. Koreans residing Shanghai continued to do activities of inspiring ethnic identity by gathering at the hall of Inseong School and doing performance activities of ethnic culture under guidance of the Shanghai Korean Society, which is a group of overseas Koreans, or the Korean Embassy in Beijing and the consulate in Shanghai. The population of Koreans in Shanghai gradually decreased due to no supplement of people with a closed characteristic of a socialist state. In 1979, Inseong School got merged into the close Chinese school with 5 students. In short, Inseong School, reopened in 1946, greatly contributed in developing national education and identity of children of overseas Korean in Shanghai area. Moreover, it played a role of mental pivot for overseas Korean society in Shanghai. Luckily, vacancy of Inseong School is filling by Shanghai Korean School, which was established in 1992 by Koreans who entered after establishment of Korea and China diplomatic relation. Shanghai Korean School is clarified as that it inherits spirit of Inseong School, which was established in 1916, reopened in 1946, and maintained until 1979.

上海 中西女塾(1892~1952) 硏究

千聖林(Chun, Sunglim) 중국근현대사학회 2020 중국근현대사연구 Vol.85 No.-

In China, women’s public education and schooling began and developed with the spread of Christianity. The first schools for Chinese females, from primary school to college, were all founded by foreign missionaries. Chinese-established non-missionary girls’ schools were also inspired by these missionary schools. Moreover, the first Chinese women teachers were all graduates of the missionary schools. This paper examines the McTyeire Home and School for Girls (Zhongxi nüshu [Chinese-Western Girls’ Academy]) in Shanghai, a representative missionary school for girls in modern China, focusing on its foundation, school system, curriculum, school life, and graduates’ career paths and social activities. Established in 1892, McTyeire Home and School for Girls went through several changes until 1952 when it became the Shanghai Number Three Girls’ School that continues to exist today. The missionary-founded and managed school gradually accepted Chinese principals and also modified its curriculum several times in response to changing demands by offering diverse courses such as those in humanities, social sciences, natural sciences, and arts and physical education as well as bible classes. At McTyeire Home and School for Girls, all the classes were conducted in English and lab classes and practical training were highly valued. The courses taught and the way they were taught were all new to the Chinese, and this new education produced “new women” in China. As McTyeire Home and School for Girls stressed public service and responsibility, it produced many social activists including members of YWCA, and during the Sino-Japanese War (1937-1945), many of its graduates led the war efforts. McTyeire’s curriculum that required twelve years for completion produced few graduates. The number of its graduating students was less than 10 percent of that of the incoming students since a lot of students dropped out to get married. However, many of the McTyeire graduates went to US to study or went to college in China, and they became teachers, doctors, missionaries, public officers, ambassadors, scientists, bankers, and entertainers. In that sense, Mctyeire was a pioneer in encouraging Chinese women to take up public jobs. However, since the establishment of People’s Republic of China (PRC) in 1949, all the pre-PRC missionary schools including McTyeire have been branded as imperialist. Notably, the negative labels of McTyeire such as ‘an aristocratic school’ or ‘an idolizer of America’ are often ascribed to its own last principal Xue-zheng who joined the PRC’s anti-imperialist fever through her self critique of McTyeire. According to the recent memoirs of McTyeire graduates, however, while it is true that some of the McTyeire students were Christians and daughters from elite families, many were non-Christians and from common families. McTyeire’s tuition was high, and yet the donations from the rich students enabled the poor to study. Therefore, it is important to acknowledge the positive role that McTyeire played in educating many Chinese women in modern China.

19세기 후반과 20세기 초 韓國 人物畵에 보이는 海上畵派 畵風

崔卿賢(Choi Kyounghyun) 한국미술사학회 2007 美術史學硏究 Vol.256 No.256

19세기 후반과 20세기 초의 한국 인물화는 張承業을 기점으로 安中植, 趙錫晋 등에 의해 중국풍의 고사인물화와 도석인물화가 널리 제작되었다. 인물화의 이러한 변화는 당시 조선사회와 藝壇의 주도층으로 성장한 중인들이 주목하였던 상해 화단의 海上畵派 화풍과 긴밀한 연관이 있다. 특히 상해에서 서화에 대한 수요가 급속히 팽창되던 시기인 1876년 도입된 석판인쇄기법은 해상화파 유명 화가들의 작품들을 선별 수록한 각종 화보들의 발간은 물론 기존에 발간된 화보들의 재간을 촉진하며 해상화파 화풍이 주변국으로 전파되는 데 중요한 기여를 하였다. 현재 장서각에 소장되어 있는 『上海書莊各種書籍圖帖書目』은 상해에 위치했던 서점들이 판매했던 각종 서적, 화보, 서화작품의 목록과 가격을 정리한 것으로 상해 발간화보들의 유입이 상당히 용이하였다는 사실을 뒷받침해준다. 상해 발간 화보들 가운데 인물화가 주로 실려 있는 馬濤의 『詩中畵』 王犀의 『毓秀堂畵傳』, 『點石齊叢畵』, 『海上名人畵稿』, 『畵譜采新』, 『古今名人畵稿』등의 화보는 한국 화단에서 일종의 회화교본처럼 사용되며 해상화파의 다양한 인물화풍이 전래 수용되는 데 중요한 역할을 하였다. 해상화파의 인물화는 陳洪綬의 인물화풍을 근간으로 했던 任伯年 계열과 費丹旭의 인물화풍을 결합하였던 錢慧安 계열로 크게 나눌 수 있다. 이 가운데 한국 화단에서 가장 많이 임모된 것은 馬濤의 『詩中畵』이며, 그는 任伯年 계열에 속하면서도 과장된 표현법을 최소화하여 문인다운 풍모를 강조하였다. 馬濤의 인물화풍은 그의 개인화보인 『詩中畵』를 통해 張承業을 비롯해 安中植, 趙錫晋, 池雲英 등에 의해 임모되면서 한국 화단에 상당한 영향을 미쳤다. 그 다음으로는 任伯年 계열에 속하면서도 전체적으로 살이 오르고 4등신 신체비례를 특징으로 하는 王?의 인물화풍이 趙錫晋에 의해 적극 수용 되었다. 王?의 인물화용은 馬濤처럼 그의 개인화보인 『毓秀堂畵傳』을 통해 소개된 것으로 보이며, 超錫晋은 王?의 4등신 신체비례를 특징으로 하는 살이 오른 인물화풍과, 얼굴에 『芥子園畵傳』 4집 인물편에 있는 눈과 입술의 세부 표현기법을 절충하여 자신만의 개성적 인물화풍을 발전시킨 것으로 판단된다. 이러한 사실은 이번의 조사ㆍ연구 과정에서 새롭게 확인된 사실로 주목된다. 이에 비해 錢慧安 계열의 인물화는 한국 화단에 맞지 않았던 것으로 보인다. 예를 들어 상해를 두 번이나 방문하였던 安中植도 任伯年 계열의 인물화를 주로 그렸으며, 錢慧安 계열의 인물화를 그리더라도 임모하는 수준에서 거의 벗어나지 못하였다. 趙錫晋 역시 상해 발간 각종 화보에서 인물화의 도상을 차용하며 錢慧安 계열의 인물화를 적지 않게 접하였지만, 대부분 4등신의 신체비례와 얼굴의 눈이나 입술을 특징적으로 표현하는 인물화법으로 변화시키고 있다. 이밖에 상해의 특수한 정치적, 경제적 상황을 상징하는 風塵三俠이나 蘇武牧羊 같은 특정 주제가 한국 화단에서도 그려졌다는 사실은 상해의 특수한 상황을 알고 있었다는 것으로 시사하는 바가 적지 않다. 하지만 이러한 한국 화단의 인물화는 1910년 시작된 일제강점기와 1922년의 조선미술전람회를 통해 서화계가 일본 총독부의 통제를 받는 파행적 상황이 전개되면서, 근대적 한국 인물화를 완성하는 단계로 발전하지 못한 사실은 안타까운 현실이다. 그럼에도 불구하고 본고는 그동안 잘 알려지지 않았던 19세기 후반과 20세기 초 한국 인물화의 연원과 그 전개 양상을 구체적으로 살펴보았다는 점에서, 다양한 층위를 지니며 복잡하게 전개되었던 화단을 좀더 자세하게 이해하는 계기가 되었다는 점에 의의를 부여할 수 있다고 생각한다. As for Korean figure paintings in the late 19th century and early 20th century, with jang Seung-eop as a starting point, ancient event figure paintings and Doseok figure paintings were created widely by An Jung-sik, Jo Seok-jin, etc. This change in figure paintings is closely related to Shanghai school brushwork noted by the middle class people who grew as the leading group of Joseon society and artist group at the time. Especially, lithography technique introduced in 1876, when demands for paintings for the people of Shanghai were drastically increased, made important contributions to spread Shanghai school brushwork to the neighboring countries, facilitating issuance of all kinds of painting manuals that included works of famous artists and re-issuance of the existing painting manuals. Shanghai Shuzhuang currently located in Jangseogak summarized lists and prices of all sorts of books, painting manuals, and artworks, and it supports me fact that introducing painting manuals issued in Shanghai was easy. Among Shanghai-issued painting manuals which mostly includes figure paintings, Shi Zhong Hua[Poems Written in the Painting] by Ma Tao, Yuxiu Tang Huazhuan by Wang Chi, Dianshi Zhai Conghua, Haishang Mingjia Huagao, Huapu Caron, and Gujin Mingren Huagao are used among the Korean artist group as a kind of a textbook, and they played an important role in the spread of diverse figure painting styles of Shanghai school brushwork. Figure paintings of Shanghai school can be divided into Ren Bonian branch based on Chen Hong-shou's style of figure painting and Qian Huian branch which combined the style of Fei Danxu. Among these, what was imitated the most in Korean artist group is Shi Zhong Hua by Ma Tao, and he minimized exaggerated expressions even though he was belonged to Ren Bonian branch. Ma Tao's style of figure painting was, through his personal painting manuals, Shi Zhong Hua, imitated by Jang Seung-eop, An Jung-sik, Jo Seok-jin, Ji Un-yeong, etc., exerting considerable influence on Korean art. After that, Wang Chi's style of figure painting, which belonged to Ren Bonian branch but emphasized a balanced body, was actively accepted by Jo Seok-jin. It seems that Wang Chi's style of figure painting was introduced through his personal painting manuals, Yuxiu Tang Huazhuan and Io Seok-jin mixed Wang Chi's style characterized by the balanced body and detailed expression methods on eyes and lips displayed in Jiezi Yuan Huazhuan Vol.4, developing his own style of figure painting. This fact was newly found in the recent research and study and thus is worth paying attention. In contrast, figure paintings of Qian Huian branch didn't seem to have been fit into Korean alt. For example, An Jung-sik, who visited Shanghai twice, mostly painted figure paintings of Ren Bonian branch, and even when he painted a figure painting of Qian Huian, he did not go beyond just imitating Jo Seok-jin also was familiar with a style of figure painting of Qian Huian branch borrowing iconography, but he changed the style in a way that he highlighted eyes or lips and painted me balanced body in a particular way. In addition, the fact the specific subjects such as Fengchensanxia or Suwumuyang, which symbolizes Shanghai's specific political and economic circumstances, were also painted in Korea suggests that Korean artists were well aware of the special circumstances in Shanghai, Unfortunately, however, as Japan ruled over Korea since 1910 and Korean paintings were under the control of the Japanese government, Korean figure paintings could not develop into the stage of complete modem Korean figure paintings. Nevertheless, this paper is meaningful in a sense that it examined the origin of Korean figure paintings in late 19th century and early 20th century and their development in more detail and provided an opportunity to better understand Korean painting circles which was unfolded in a complex way with diverse strata.

淸末 趙之謙(1829-1884)의 화훼화와 그 영향

오지영 한국미술사학회 2009 美術史學硏究 Vol.261 No.261

본 논문은 청의 19세기 중후반에 활동한 趙之謙의 화훼화와 영향에 관한 연구이다. 그는 변화를 모색하는 당시 화단 속에서 金石畵風을 구현하여 海上畵派의 시작을 열어 주었으며 후대 화가들이 20세기 전통화단을 개척하는 데 기반을 마련하였다. 그러나 그에 대한 기존의 연구는 그가 해상화파에 속하는가 하는 귀속 문제와 금석화풍과 해상화파의 관계에 대한 부분에만 초점이 맞춰져 있었다. 그리하여 본 연구에서는 조지겸의 회화 창작에 근간이 되는 예술사상과 예술 성취에 대해 분석적이고 종합적인 연구를 시도하여 그의 회화사적 의의를 모색하려 하였다. 본 논문은 학문관과 예술사상이 가장 잘 반영된 화훼화에 대하여 살펴보았다. 그의 화훼화는 본인이 스스로 1863년경 화풍을 전환하였다고 기록하였듯이 1863년을 기점으로 두 시기로 구분된다. 1857년부터 1862년까지의 前期에는 전통 화훼화의 화법을 학습하고 당시의 상업적인 경향에 부응하여 대중적이고 화려한 화훼화를 제작하였다. 1861년에는 독창적인 <異魚圖卷>과 <甌中物産圖卷>을 제작하였는데 이는 그가 이전부터 관심을 갖고 연구해 온 고증학에 대한 관심과 지방의 독특한 사물을 기록해 내려는 남다른 시각에 의한 것이다. 後期에 들면, 북경에서 맺게 된 새로운 교유관계와 금석학의 학습, 서예와 전각의 연마로 화풍상에 있어 큰 변화를 보인다. 특히, 조지겸은 金石學과 碑學을 바탕으로 古代의 중후한 심미관을 찬미하였으며 書·畵·印의 밀접한 관계를 인식하였고 ‘拙’이라는 필묵의 최후의 경지를 추구하였다. 이러한 예술사상을 토대로 전각과 서예의 조형적인 요소를 회화에 적용하는 금석화풍의 화훼화를 구사하였다. 아울러 직접 金石器物을 拓本의 기법으로 화면 속에 그려낸 拓本 花卉博古圖도 제작하여 화훼화의 한 장르로 확립하였다. 조지겸의 이러한 성취는 후대 吳昌碩, 任伯年과 같은 해상화파와 북경화단에도 흡수되어 20세기 초 전통화파 형성에 근간이 되었다. 특히 오창석에 선행하여 금석화풍으로 해상화파의 시작을 열어주었다는 점에서 주목된다. 더욱이 그의 영향이 해상화파를 통해 19세기 후반 20세기 초 張承業을 중심으로 한 한국의 화단에도 미친다는 점에서 의의가 크다 할 수 있겠다. 그가 확립했다고 간주되는 탁본 화훼박고도와 해상화파의 그림들이 조선말기 器皿折枝圖의 구도, 표현기법, 제재 등에 영향을 주었다는 것을 살펴보았다. 조지겸은 19세기 화단 속에서 대중의 취향에 맞는 상업적인 창작활동을 한 동시에 자신의 학문적 관심에 의해 새로운 미감의 작품도 창작하였다. 이는 변모해 가는 화단의 양상을 잘 반영한다. 아울러 그가 이룬 성취가 후대 중국뿐만 아니라 한국에도 이른다는 것을 통해 그 동안 간과되었던 회화사적 의의를 고찰할 수 있었다. This study discusses flower paintings by Zhao Zhiqian, a Qing Chinese artist from the mid to late 19th century. Zhao Zhiqian’s works, drawing inspirations from the aesthetics of jinshixue (the study of ancient metal and stone artifacts), opened a new direction for Chinese painting, at a time when its artistic scenes were thirsty for changes, thereby becoming one of the spiritual fathers of the Shanghai school, and laying the groundwork for traditional painting to survive and remain relevant into the 20th century. Most prior studies on Zhao Zhiqian have been almost exclusively concerned with the question whether or not he should be considered a member of the Shanghai school, or with the relationship between jinshi style and the Shanghai school of painting, insofar he was a connecting link between the two. This study is an attempt at a comprehensive portrayal of Zhao Zhiqian as an artist, examining his artistic philosophy and achievements, to determine his place within the history of Chinese painting. My discussion of Zhao Zhiqian opens with a look at his flower paintings, an area of his work that best reflects his intellectual and artistic temperament. Two periods can be discerned in his flower paintings: before and after 1863, the year that marked a clear stylistic shift for Zhao Zhiqian, as the artist is reported to have acknowledged himself. The initial period between 1857 and 1862, Zhao Zhiqian studied classical techniques of the Chinese flower painting tradition and produced colorful and stylized paintings, geared toward a broad audience and catering to the popular taste of the day. In 1861, however, he produced two very original scrolls, such as Collection of Strange Fish and Collection of Products of Wenzhou. These works, a reflection of his long-standing interest in Kaozhengxue, were more particularly the results of his known passion for, and desire to document exotic animals, plants and produce from various regions of China. A noticeable change occurred in his style toward 1863. The influence of artists he befriended in Beijing around this time, and his initiation into ancient epigraphy and further mastery of calligraphy and seal carving appear to have been the contributing factors. During this period, Zhao Zhiqian, immersed in the study of ancient epigraphy and stelae, professed his admiration for the weighty aesthetic of antiquity. He clearly understood the intimate ties existing between calligraphy, painting and seal carving, and worked toward the ultimate stage of calligraphic mastery he described as ‘awkward.’ This artistic vision is tangible in his flower paintings from this period, which also integrated elements of seal carving and calligraphy, to shape a new style infused with the aesthetics of jinshixue. It was also during this period that he created a new genre of flower painting in which flowers and plants are depicted alongside ancient bronze vessels, using techniques inspired from stele rubbing. These new styles and genres developed by Zhao Zhiqian had a seminal influence on Shanghai school painters of the likes of Wu Changshuo and Ren Bonian and the artistic circles of Beijing and became the sources of inspiration for traditional Chinese painting of the early 20th century. It is important to underline that Zhao Zhiqian pioneered the integration of jinshixue aesthetics into painting, and that his works embodying this style predate those of Wu Changshuo. In that, he was the true spiritual founding father of the Shanghai school. Also noteworthy is the fact that Zhao Zhiqian’s influence went beyond Chinese borders to Korea. Via works of Shanghai school painters, Jang Seung-eup and other Korean painters of the late 19th to early 20th-century were exposed to Zhao Zhiqian’s style. Flower and antique objects using stele-rubbing technique, a genre Zhao Zhiqian is widely considered to have fathered, and Shanghai school painters’ works had a decisive influence on Vessels and Flower Paintings, the la...

京味와 京派, ‘同’과 ‘異’에 대한 고찰 - 1920~30년대 소설을 중심으로

이수연 한국중국소설학회 2015 中國小說論叢 Vol.45 No.-

1920~30년대 중국은 다양한 가치들이 상충하였고, 이러한 시대적 배경 하에 문화 중심지인 베이징의 지역명을 차용한 京味와 京派의 문학 개념의 작품이 등장하였다. 이후 중화인민공화국이 수립 된 이후 서서히 자취를 감추었다가 80년대 ‘문화뿌리 찾기’의 현상과 함께 ‘베이징’이라는 지역문화를 반영한 문학이라는 공통된 개념으로 사람들에게 관심을 받기 시작했다. 이로 인해 단지 베이징문학이라는 동일한 혹은 상⋅하위 카테고리로 파악하거나 京味는 문학현상으로, 京派는 문학유파로만 이해되었다. 그러나 라오서의 작품을 통해서 등장한 京味와 선총원 중심의 京派와 海派논쟁에서 비롯한 京派를 정의하려면 세부적인 분석이 필요하다. 단순히 동일한 지역 문학으로 이해하기에는 그 간극에 존재하는 논의점들이 많고, 현재까지도 개념 뿐 아니라 작가군, 특징, 공통점과 차이점 등을 이해하는 기준이 모호하다. 그리하여 본고에서는 京味와 京派라는 문학개념이 등장한 2.30년대의 소설을 주요 문학텍스트로 선정하여 京味의 내⋅외재적인 의미를 살펴보고 京派의 역사적 맥락에 대한 고찰을 통해 京味와 京派을 고찰하고자 한다. 1920~30’s China was inconsistent with various values, Beijing atmosphere and Beijing School literary concepts borrowed the name of the Beijing area of the cultural centers have emerged under this historical background. It disappeared in the later era transformation and started getting people interested in a common concept of literature that reflect the local culture of ‘Beijing’ with the phenomenon of the 1980s’ the Root-seeking Literature. This caused Beijing atmosphere and Beijing School only identified the same or upper and lower category of Beijing literature or Beijing atmosphere is understood as a literary phenomenon and Beijing School was understood only as literary school. But in order to define Beijing atmosphere appeared through the novels of Lao She and Beijing School appeared through Beijing School and Shanghai School debate started in the article of Shen Congwen need a detailed analysis. If we simply understand that Beijing atmosphere and Beijing School are the same area literature, there are many discussion points that exist in the gap. Even today, the basis for understanding the concept, group of writers, features, similarities and differences are ambiguous. Thus, this paper will attempt to explore Beijing atmosphere and Beijing School through the review of the internal and extrinsic of Beijing atmosphere, study on the historical context of Beijing School focusing on the novel of the 1920~30’s which Beijing atmosphere and Beijing School has appeared.

京味와 京派, ‘同’과 ‘異’에 대한 고찰

李秀娟 한국중국소설학회 2015 中國小說論叢 Vol.45 No.-

1920~30년대 중국은 다양한 가치들이 상충하였고, 이러한 시대적 배경 하에 문화 중심지인 베이징의 지역명을 차용한 京味와 京派의 문학 개념의 작품이 등장하였다. 이후 중화인민공화국이 수립 된 이후 서서히 자취를 감추었다가 80년대 ‘문화뿌리 찾기’의 현상과 함께 ‘베이징’이라는 지역문화를 반영한 문학이라는 공통된 개념으로 사람들에게 관심을 받기 시작했다. 이로 인해 단지 베이징문학이라는 동일한 혹은 상ㆍ하위 카테고리로 파악하거나 京味는 문학현상으로, 京派는 문학유파로만 이해되었다. 그러나 라오서의 작품을 통해서 등장한 京味와 선총원 중심의 京派와 海派논쟁에서 비롯한 京派를 정의하려면 세부적인 분석이 필요하다. 단순히 동일한 지역 문학으로 이해하기에는 그 간극에 존재하는 논의점들이 많고, 현재까지도 개념 뿐 아니라 작가군, 특징, 공통점과 차이점 등을 이해하는 기준이 모호하다. 그리하여 본고에서는 京味와 京派라는 문학개념이 등장한 2.30년대의 소설을 주요 문학텍스트로 선정하여 京味의 내ㆍ외재적인 의미를 살펴보고 京派의 역사적 맥락에 대한 고찰을 통해 京味와 京派을 고찰하고자 한다. 1920~30’s China was inconsistent with various values, Beijing atmosphere and Beijing School literary concepts borrowed the name of the Beijing area of the cultural centers have emerged under this historical background. It disappeared in the later era transformation and started getting people interested in a common concept of literature that reflect the local culture of ‘Beijing’ with the phenomenon of the 1980s’ the Root-seeking Literature. This caused Beijing atmosphere and Beijing School only identified the same or upper and lower category of Beijing literature or Beijing atmosphere is understood as a literary phenomenon and Beijing School was understood only as literary school. But in order to define Beijing atmosphere appeared through the novels of Lao She and Beijing School appeared through Beijing School and Shanghai School debate started in the article of Shen Congwen need a detailed analysis. If we simply understand that Beijing atmosphere and Beijing School are the same area literature, there are many discussion points that exist in the gap. Even today, the basis for understanding the concept, group of writers, features, similarities and differences are ambiguous. Thus, this paper will attempt to explore Beijing atmosphere and Beijing School through the review of the internal and extrinsic of Beijing atmosphere, study on the historical context of Beijing School focusing on the novel of the 1920~30’s which Beijing atmosphere and Beijing School has appeared.

상하이거주 타이완상인(臺商)의 양안(兩岸)에 대한 인식 - 자녀의 교육전략을 통한 접근-

김미란 한국중국문화학회 2013 中國學論叢 Vol.38 No.-

This study seeks to find out how Taiwanese businessmen (臺商) living in Shanghai perceive the two countries they are connected with, Taiwan and China, through investigating what strategies they employ when making decisions about their children’s education. In particular, the paper attempts to discern whether Taiwanese economic migrants face any psychological dilemmas regarding their ethnic-national identity in the context of the Cross-Strait; and if so, how they solve these dilemmas, given the tendency since 2000 for increasing numbers of Taiwanese businessmen to settle in Shanghai. The education system in China is divided into three categories: international schools, Chinese public schools and schools for Taiwanese businessmen. Taiwanese economic migrants working in large corporations tend to send their children to an international school, whereas those from the middle or lower middle class are more likely to choose either a Chinese public school or a school for Taiwanese businessmen. Among the latter group in particular, there is a trend towards ‘localization’ and a preference for Chinese local middle/highschools. Taiwaneseparents worry about whether their children will experience value-confusion while studying in the Guomindang-focused and communist-centered education system in China. Nevertheless, many are taking their children out of the Taiwanese schools and enrolling them in Chinese local schools instead. The reason for this, according to the evidence presented in this paper, is that they perceive Shanghai as a 'global' city and their own country Taiwan as ‘local’ government . They see Taiwan as a ‘nexus’ providing them with practical resources rather than ‘emotional stability’ or ‘ethnic-national belongingness’. They also view their homecountry as less internationally important than the ‘global’ city of Shanghai and therefore do not feel psychologically obliged to see Taiwan as ‘a place to go back’ or re-migrate to. Instead, they see Shanghai as a unique place unlike the other regions of China. Thus, the findings of there search were that whilst going through the process of selectin galocal school in Shanghai, Taiwanese businessmen did not any feel psychological obligation to choose Taiwan over China.

1920년대 상해 및 남경 지역 민족학교의 교육운동 연구

윤금선(Yeun, Keum-sun) 국어교육학회 2016 국어교육연구 Vol.62 No.-

This study discussed educational movement of Korean ethnic school located in Shanghai and Nanjing, China jurisdiction such as Inseonghaggyo, Dong myeonghagwon, Samiljoonghak. Shanghai temporary government thought that the rise and fall of nation depended on education, so it was urgent to establish ethnic school. As a result, these three schools are founded as an educational institution for realizing ethnic ideology. Characteristics of these schools are as follows. Inseonghaggyo was a Korean public school, Dongmyeonghagwon was a institution Heungsadan-affiliated organizations, and Samiljoonghak was built by Korea-China alliance. These schools were the best ethnic education institute. They taught Korean, History, and other basic subjects. Foreign language was also emphasized because they were located in foreign country. Furthermore, they provided social education by opening night school and lessons, establishing library, and giving publishing service. As a result, these 3 schools made a great impact on ethnic education of Korean society in China jurisdiction.

중국 상해시 수습교사제의 도입과 운영 분석

박수정,방효비 한국교원교육학회 2019 한국교원교육연구 Vol.36 No.3

신임교사에 대한 체계적인 입문교육과 적응 지원의 중요성을 바탕으로, 이 연구는 중국 상해시에서 2012년에 도입한 ‘수습교사 규범화 훈련제도'(이하 수습교사제)의 운영 현황과 특성을 분석하고, 한국의 신임교사 입문교육에 주는 시사점을 도출하고자 하였다. 이를 위하여 중국 상해시의 수습교사제와 관련된 문헌 고찰, 현장 참관, 인터뷰 등을 통해 자료를 수집하고, 중국 상해시 수습교사제의 도입배경 및 목적, 운영체계, 운영 기관, 운영 관리 및 운영 지원 등을 분석하였다. 주요 연구결과는 다음과 같다. 첫째, 수습교사제를 통해 신임교사 교육의 표준이 통일되고 교육의 질을 균등하게 담보하는 방향으로 나아가고 있다. 둘째, 수습교사 교육은 임용학교, 훈련학교, 교사연수원에서 동시에 이루어지는 ‘네트워크형’ 구조로 이루어지고 있다. 셋째, 수습교사들을 교육하는 훈련학교는 일종의 ‘전문성개발학교(PDS)’로서 수습교육을 전문적으로 담당하고 있다. 넷째, 수습교사와 지도교사에 대한 지원 정책은 다양하게 이루어지고 있다. 종합적으로 볼 때, 중국 상하이 수습교사제는 교사 평가와 선별보다는 교육과 지원에 중점을 둔 입문교육 프로그램의 성격이 강하다. 이러한 연구결과를 바탕으로 신임교사 입문교육에 있어서 체계적인 적응과 성장 지원, 현장 중심형 교육, 관련 기관과 학교 간의 협력 등의 시사점을 제시하였다. Based on the importance of systematic introductory education and adaptive support for new teachers, this study analyzed the current status and characteristics of the "Standardized Training System for beginning teachers" (refer to as the Training System for Beginning Teachers) that was conducted in 2012 by Shanghai of China, and found out the implications for Korea's new teachers education. For this purpose, data were collected through a systematic reviews, field observation and interview related to the Training System for Beginning Teachers in Shanghai. The beginning teachers’ background of introduction and purpose, operating system, operating institution, operation management and operation support were analyzed. The main results of this research are as follows. First, through the Training System for Beginning Teachers the standards of new teacher education are unified and moving toward equal assurance of the quality of education. Second, Training System for Beginning Teachers consists of a 'network-type' structure, which is conducted simultaneously at an appointment school, a training school, and a teacher training institute. Third, the training school that educates training teachers is a kind of ‘PDS(Professional Development School)’, which specializes in training. Fourth, there are various support policies for beginning teachers and mentors. Overall, Training System for Beginning Teachers in Shanghai has a strong personality in its introductory education program focusing on education and support rather than evaluating and screening teachers. Based on these research results, it presented suggestions such as systematic adaptation and growth support, field-centered education, and cooperation between related institutions and schools in the introductory education of new teachers.

海上畵派 花鳥畵의 造形性 硏究 - 任伯年⋅虛谷⋅吳昌碩을 중심으로

하영준 한국사상문화학회 2011 한국사상과 문화 Vol.59 No.-

The Shanghai School was composed the new atmosphere in the traditional picture to accept the west picture of the color, clear sense of the times, Clear product of the work and the symbol of sanction. Because this was able to share all the classes with the aesthetic appreciation of the specific classes together immediately. It is the vitality of the Shanghai School. In this paper, the scene composition and the blank space of the Shanghai School was cornerstone of modern picture in China with new sense of the times that I studied the processing method to a moulding center of the modern picture. The structure of the screen is one of indispensable elements in the moulding art. Important thing is immediately ‘the blank space’ processing method in such structure. The processing of the blank space is very important in China art. However, the `blank space' processing methods are different every writer in the picture. The painting of flowers and birds of Ren bonian used a screen structure of the ‘古’ a model. The lower column of the screen makes the blank space of various shape as the space of the ‘the contents’ and the upper portion in space of the ‘the air’ takes out some branch from the lower column then, it expressed the Book of Odes of garden on the drawing a small bird. Xu Gu has importance to ‘中’ a model of constituting top and down that make empty which is excellent and outstanding. In addition, it used slant pencil line which arranged the blank space of the ‘井’ a model for repetition, and the form is a square but the screen constitution is round. It is one of an importance characteristics of his painting that the constitution of ‘女’ a model of Wu Changshih through blank space of the trapezoid. For this, he used diagonal line structure and left under angle of the screen for removing structure premeditatedly. 본 논문은 화조화의 조형성을 연구한 것이다. 이러한 연구를 하기에 가장 적합한 화파는 동⋅서 문화의 충돌과 융화를 촉진하면서 중국 근대회화의 초석이 되는 ‘해상화파’로 이 화파의 임백년⋅허곡⋅오창석의 화조화를 중심으로 구도와 여백 처리방식을 분석한 것이다. 이러한 연구는 한국의 전통 문인화가 지닌 정신성을 바탕으로 현대회화의 조형성을 접목시키고자 한 것으로 전통 문인화에서 현대 문인화로 재창조하는데 도움이 될 것이다. 지금으로부터 백이십여 년 전 중국의 상해는 오히려 기형적인 발전을 이루고 있었다. 아편전쟁으로 인해 상해항구가 개방되면서 상해는 계속적인 발전을 통해 중국의 최대 상업도시를 이룩하는 동시에 국제성을 띤 대도시로 성장했다. 상해의 경제와 문화는 동⋅서 문화의 충돌과 융화를 촉진하면서 중국 근대회화의 초석이 되는 ‘해상화파’를 출현시켰다. 해상화파는 색채와 구도를 통한 선명하고 뚜렷한 시대감각과 작품의 분명한 상품성, 제재의 상징성, 서양회화의 수용 등의 특징을 바탕으로 전통회화에 새로운 분위기를 조성하였다. 화면의 구도는 조형예술에서 없어서는 안 되는 요소의 하나이고, 이러한 구도에 있어서 중요한 것이 바로 ‘여백’ 처리방식이다. 그러나 회화에서 ‘여백’ 처리방식은 작가마다 다르다. 임백년의 화조화는 ‘古’자 형의 화면 구도를 애용하였다. 화면의 하단은 실(實)의 공간으로 다양한 모양의 여백을 만들고, 상단은 허(虛)의 공간으로 단지 몇 가지를 하단에서 끄집어내 그 위에 작은 새를 그려 전원의 시경을 나타내었다. 허곡은 ‘중축선(中軸線)’ 화면 구도를 중시하여 위⋅아래가 비어 뛰어나고 빼어나다. 또한 그는 사선적인 필선을 사용하여 ‘井’자 형의 여백을 반복적으로 배열함으로써 형태는 네모나나 화면구도는 둥글다. 오창석의 ‘女’자 형의 구도에서 발견되는 사다리꼴의 여백은 그의 그림의 중요 특성 중의 하나이다. 이를 위하여 그는 대각선 구도와 화면의 左下角을 없애는 구도를 자주 사용하였다.