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권영필 미술사학연구회 2006 美術史學報 Vol.- No.27
About My ‘Art History and Aesthetics’ - an empirical approach - Kwon Youngpil (Former Professor, the Korean National University of Arts) This essay is about the development of Korean art history and aesthetic studies from the 1960s until now based on my personal experiences. Here, especially, I focus on the interrelationship between art history and aesthetics. In the early 60s, the two fields of studies were still under the influences of Kyung-sung(jap. Kei-jo) University which was founded during the colonial ages of Japan, and the lectures on art history were just focusing on the historical backgrounds even without showing slides-that is, there were no image materials used. However, in the 70s, we can see that the tendencies in the study of Korean art history had been somewhat “globalized” to the point of introducing the theory of style of the German school. Since the 1980s, there had been serious studies on the methodology of art history. The Korean Society of Art History had played a primary role in the center of the studies. In contemporary era, the field of art history has been developed a lot to the point of making different schools. However, the need of aesthetic interpretation on the specific phenomena of the art history still remains. In the mean time, the study on German aesthetics of the ‘Getty Center for the History of Art and the Humanities’ in USA could be a good lesson to us.
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모인순(Mo, In-Soon) 한국조형디자인학회 2008 조형디자인연구 Vol.11 No.3
In Korea, ceramic education at university began in 1958. Since then, quantitative development and growth have been achieved. Substantial qualitative achievements, however, failed to materialize. Many factors contributed to the qualitative stagnation. First, efforts to analyze the modern period of university education and to establish a curriculum that suits Korean identity and values were insufficientiy expended. As a result, the issue of re-interpretation of the tradition to identify the essence and characteristics of Korean ceramic arts, academic pursuit, and communication were marginalized. Instead,“education for education’s sake” has been carried out. Second, educators have passively adopted foreign-made contents of ceramic education, which focused on the creation of dialectical value system, developed by ceramicists in Japan, Europe, and America. However, such contents that did not undergo dialectical reviews based on the Korean history and tradition were likely to produce negative side effects. Third, ceramic education at universities failed to interact with the social context at full capacity. Amid self-induced stagnation, ceramic education has failed to defend its scholastic legitimacy and to meet social demands. Essentially, ceramic education is largely characterized by analog representation of the world aspects and is formed by individual media experience that is shaped by historicity. This means that ceramic education has the potential to mediate conflicts involving the human condition in the digital society. From this perspective, curriculum should be recognized as a dialectical process through which individual experiences are expanded by cognitive growth and knowledge. To teach essential characteristics of ceramics and to train them to be creative in the social context, it is necessary to prepare curriculum that is focused on them.
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박주석 ( Park Juseok ) 한국사진학회 2020 AURA Vol.0 No.45
In this thesis, I will examine the activity status of the <Josunsajingeonsulwiwonhae> for the construction of the photographic society immediately after liberation, the trend of photographic works, and the process of differentiation into left and right. In addition, in the division of the left and right wing, we examined critically the activities and achievements of the <Josunsajinyesulyeonguhae>, which promoted the banner of nationalist cultural construction of the right wing.1) The first society of photographers group constructed after liberation was the <Josunsajingeonsulwiwonhae>, formed in August 1945 by Park Pil-ho. Participation targets included art photographers, photo-journalists, portrait photographers, merchants of materials. The <Exhibition of Liberation Memorial>, organized by this group, appeared new photographers such as Kim Jinsoo, Lee Dongho , Jeong Dosun and Lee Myeong-dong, who led Korean photography as critics of realism photography. On March, 1946, photographers who have been active in art society since the Japanese colonial period were formed as the center and formed the <Josunsajinyesulyeonguhae>. In terms of members, it could be said to be the successor of the <Josunsajingeonsulwiwonhae>. They consisted the scope of their activities to 'Art Photography' to clarify the organization's identity. The <Josunsajinyesulyeonguhae> hosted the 《National Photographic Arts Contest》, which produced national photography enthusiasm and expanded its base. This was a time when members of Korean society tried to restore independence in their own ways. Since the distress of the past 36 years originated from the fact that, above all, the sovereignty of the state was lost, efforts to restore Korean self-sufficiency at the time proceeded toward emphasizing pure ethnic characteristics. Korean photography was the same.
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