근대 중국 미술 개념과 문학의 조우 및 소통 시탐(試探) - 미술의 공리적 가치 부여에서 문예의 독립적 지위 획득까지-

정해리,류창진 중국인문학회 2020 中國人文科學 Vol.0 No.74

This study aims to shed light on the concept and value perception of modern Chinese art, and to re-examine it from the overall perspective of literary theory. Specifically, this study is based on trends and perceptions of modern art concepts in East Asia, encounters in contemporary Chinese art and literature, and communication between modern Chinese art concepts and essentialism of literature: The process was divided into three parts, from the utilitarian value of art to the acquisition of independent status in literature. First, the trends and perceptions of East Asian modern art concepts were examined. In the case of Japan, it can be seen that utilitarian values are perceived to promote national policy in the trend of modernization. In terms of China, Kang Youwei(康有爲) insisted that "the social function of art and artists should be emphasized, and national education and nationality reconstruction should be carried out together." Cai Yuanpei(蔡元培) emphasized the universality and transcendence of beauty. Since the 1900's, it has been discussed in Liang Qichao(梁啓超), Wang Guowei(王國維) and Lu Xun(魯迅). The fact that the concept of beauty or art mentioned in Chinese modern literary literature is connected with Western and Japanese modern times serves as a clue to the formation of Chinese modern literary discourse. Therefore, as a first step of the study, this study examined the concept of Japanese art, the accepting aspect of China, and the trend of modern Chinese art. Second, the encounter between modern Chinese art and literature was examined. If the use of the term art mentioned in literary literature is largely focused on utilitarian aspects, Wang Guowei disagrees with the discussions of the time. He considered "fiction belongs to the category of art," and he considered "the best of Chinese poems, plays, and novels." Huang Ren(黃人) also said that "fiction is one of the aesthetically oriented literatures," which is the beginning of the encounter between beauty and literature. Zhou Zuoren(周作人) also recognized that the novel was clearly a sentence and a work of art. Guan Daru(管達如) and Lu Simian(呂思勉) then systematically organized the theory of the novel in general. In particular, Guan Daru attempts to position each of literature, art and fiction on the premise that "literature is a kind of art, fiction is also a kind of literature."In short, as art begins to be discussed with literature, journalists link "beauty and literature" and "beauty and novels." And with the understanding of literature in general, the position between art, literature and fiction becomes clearer. Third, this study examined the process from granting utilitarian value of art to acquiring independent status of literature, focusing on communication between modern Chinese art concept and literary essentialism. Xia Ren(俠人) talks about the ratio of fiction between fiction and history, emphasizing the creation of fictional realms and focusing on the essential characteristics of fiction. In other words, the literary value of the novel is highlighted. In addition, he pays attention to the utility values and literary characteristics of novels and moves his eyes to the aesthetic values of novels. Huang Ren paid attention to the useful value of the novel based on an aesthetic angle. Wang Guowei, on the other hand, strongly argues that if philosophy and art are the means of morality and politics, then the work is ultimately worthless. This claim completely overcomes the view of traditional Chinese literature and emphasizes the true independence of literature. Lu Simian systematized theories of novel creation based on the recognition that novels are artistic creations. In particular, the point of meaningfully discussing the fictional novels by dividing the novels is that they also pay attention to the value of literature itself.

포스트모던 실내공간에 나타난 아르데코 표현특성에 관한 연구

한민정 한국기초조형학회 2009 기초조형학연구 Vol.10 No.4

Many post modern designers freely used historical motifs as symbolic expressions or ornamentations. Historical references often became a key to express their ideal against modern standardization. Among the historical references, Art Deco style was frequently appreciated by post modern designers from the late of 1960s throughout post modern era. This study is intended to explore the way of incorporating Art Deco in post modern interior design. Also, this research analyzed to find out the Art Deco characteristics in the interior space of the post modern. To accomplish the goal set up in this study, Art Deco revival in the post modern era and the general characteristics of Art Deco and post modern were reviewed from theoretical study. And then the case studies of the examples of Art Deco revival in post modern interior spaces were analyzed by formal, historical, symbolic characteristics. As a result of this analysis, Art Deco revival in post modern era was an essential method to express anti-modern characteristics of post modern design. Finally, in post modern interior space, Art Deco was one of historical styles that surpass the limitation of modernism, at the same time decorative style that express the idea of the post modern. 20세기 후반에 들어서면서 모더니즘의 이성적이고 단순하며 기능적인 디자인에 대한 필연적 반동으로서 나타난 포스트모던 디자인은 모더니즘에서 부정되었던 역사성, 장식성 등의 특성을 특징적인 기법으로 표현하여 대중의 감성에 부합하려고 하였다. 1920년을 전후하여 발생하였던 아르데코 양식은 풍부한 장식성과 역사성, 상징성으로 대중에게 현대적인 스타일로 각광받았으나 모더니즘의 확산을 통하여 쇠퇴되었으며 1960년대 후반에 이르러 새롭게 대중의 관심을 받으며 예술계에서 다시 부흥되기 시작하였다. 그리고 1970~80년의 시기에 포스트모던 디자인이 다양한 특성을 가지고 발전하게 되면서 포스트모던 디자인에서 아르데코의 다양한 디자인이 적용되고 그 양식적 특성이 나타나기 시작하였다. 이러한 관점에서 본 연구는 실내 디자인 분야에서 포스트모던에서의 아르데코가 어떻게 적용되었는지를 파악하고자 하였으며 포스트모던 실내공간에서 나타나는 아르데코의 표현특성을 도출해내고자 하였다. 이 목적을 위하여 문헌연구를 통하여 1960년부터 나타난 아르데코의 재부흥에 대해서 조사하였고, 일반적인 아르데코와 포스트모던 디자인의 표현특성을 파악하여 그 상관성을 조사하였으며, 그 공통적 표현특성인 조형적, 역사적, 상징적 분석의 틀을 가지고 분석하였다. 그 결과, 아르데코의 표현특성이 나타나는 포스트모던 실내공간에서도 동일하게 기하학적이고 유선형의 조형성이 단순한 장식성을 위해서 도입되고 있었고 또, 이집트를 비롯한 역사적 모티브가 부정되었던 역사성을 회복시키기 위해 적용되고 있었으며, 그리고 모든 자연적 모티브와 원시적 이미지가 상징적으로 양식화되어 장식의 모티브로서 활용되고 있음을 알 수 있었다. 결론적으로, 아르데코의 조형성, 역사성, 상징성의 장식적 모티브가 포스트모던 디자인에서 차용하기가 쉽고 또 이미 알려진 이미지를 상징화하여 대중과 커뮤니케이션을 하고자 하였던 특성에 부합되었기 때문에 포스트모던 실내디자인에서도 적용된 하나의 표현 수단임을 알 수 있었다.

컬렉션, 시장, 취향: 이왕가미술관 일본근대미술컬렉션 재고

권행가 국립중앙박물관 2015 미술자료 Vol.- No.87

The creation of an art collection is affected by a number of factors such as political and economic power, aesthetic value, and art market, etc. Many have pointed to the association of the Modern Japanese art collections of the Yi Royal Family Art Museum with power, imperialism, and colonization. This article aims to reflect on the Modern Japanese Art Collections at the Yi Royal Family Museum of Art from the perspective of their relationship with the contemporary art market. Japan tried to establish its first modern art museum in Seokjojeon which is located in Duksu-gung Palace, one of the palaces of Joseon Dynasty. The fundamental reason why Japanese did not exhibit the art works of Joseon but the ones of Japanese artists was to enlighten the colonial Joseon of the sophisticated Japanese modern art. The other reason was that they needed a modern art museum to show their rich cultural heritage of Japan to visitors or foreigners, as there wasn’t any yet until 1940s. However, at the outset, the Museum of Art lacked exhibits to fill its empty walls. Thus, most of the exhibits were lent from Japan to be put on display for a specified period of time, and some of them were purchased by the Yi Royal Family Office and Prince Yi Eun himself. However, the influx of modern Japanese art collections into Joseon in such a massive scale was unprecedented. More importantly, an amount equivalent to half of what the Yi Royal Family Museum at Changgyeonggung Palace spent annually to purchase artwork, mainly ancient works of Joseon, was spent on purchasing modern Japanese pieces. This attests to the fact that the House of Yi was focused on expanding the modern Japanese art collections. Therefore, it is an oversimplification to claim that the Modern Japanese art exhibition was designed solely for the development of the contemporary Joseon art scene. The imported pieces did not just help to stage the Exhibition at Seokjojeon, but they also led to the increase in solo exhibitions of Japanese artists and the sales of their works within Joseon. While some Joseon artists acknowledged that Japanese art could not but occupy the center stage in such a dynamic, others responded by striving to build the identity of Joseon art through delving into the issue of creativity and imitation and studying antique Joseon art pieces exhibited next to modern Japanese art. They also placed a focus on increasing the exhibitions of contemporary artists in Joseon and the sales of their works. In short, the Modern Japanese art exhibition was the epicenter of the struggle of the Joseon art world to survive and to search for its identity through recognizing and defying Japan's influence and finding creativity through imitation throughout the 1930s and 1940s.

Research on the Influence of Chinese Modern Art Competitiveness on Customer Purchase Intention - Take the Art of Buying Customers in Beijing 798 Art District as an Example -

LIUZIYANG 한국동양예술학회 2018 동양예술 Vol.41 No.-

In today's increasingly fierce industry competition, various industries have increased the competitiveness of their respective industries in different ways, so as to maximize the value of their respective fields, and the same works of art, especially the modern art market is developing in fierce competition. If modern art has its own place in the art market, only by improving its competitiveness can it acquire more customers in the fierce competition. Modern art is the product of the development of art following the times. The purpose of this paper is to draw conclusions from the influence of the competitiveness of modern art on the willingness of customers to purchase. In the paper, the hedonistic of art and the practicality of art are used as analytical factors. This thesis conducts exploratory analysis of the competitiveness of modern art, hoping to achieve a new understanding of the competitiveness of modern art. Data analysis was performed using the metrology analysis tools SPSS and AMOS, and the final analysis results were obtained using reliability analysis, validity analysis, and structural equation model analysis. According to the analysis results, we can get the conclusion that the competitiveness of modern art has a positive influence on the enjoyment of modern art. The competitiveness of modern art also has a positive impact on the practicality of modern art. Modern art the enjoyment of the product has a positive influence on the customer's purchase intention, and the practicality of the modern art has a positive impact on the customer's purchase intention. Through the analysis of the conclusions, we can put forward some suggestions and inspirations for the development of modern Chinese art.

Research on the Influence of Chinese Modern Art Competitiveness on Customer Purchase Intention - Take the Art of Buying Customers in Beijing 798 Art District as an Example -

( Liu Ziyang ) 한국동양예술학회 2018 동양예술 Vol.41 No.-

In today's increasingly fierce industry competition, various industries have increased the competitiveness of their respective industries in different ways, so as to maximize the value of their respective fields, and the same works of art, especially the modern art market is developing in fierce competition. If modern art has its own place in the art market, only by improving its competitiveness can it acquire more customers in the fierce competition. Modern art is the product of the development of art following the times. The purpose of this paper is to draw conclusions from the influence of the competitiveness of modern art on the willingness of customers to purchase. In the paper, the hedonistic of art and the practicality of art are used as analytical factors. This thesis conducts exploratory analysis of the competitiveness of modern art, hoping to achieve a new understanding of the competitiveness of modern art. Data analysis was performed using the metrology analysis tools SPSS and AMOS, and the final analysis results were obtained using reliability analysis, validity analysis, and structural equation model analysis. According to the analysis results, we can get the conclusion that the competitiveness of modern art has a positive influence on the enjoyment of modern art. The competitiveness of modern art also has a positive impact on the practicality of modern art. Modern art the enjoyment of the product has a positive influence on the customer's purchase intention, and the practicality of the modern art has a positive impact on the customer's purchase intention. Through the analysis of the conclusions, we can put forward some suggestions and inspirations for the development of modern Chinese art.

“現代性”維度下的金庸武俠小說硏究

왕러 한국중국학회 2022 중국학보 Vol.101 No.-

Under the situation that Jin Yong's martial arts novels have become literary "classics" in the new century, this paper attempts to integrate the existing modern thinking of Jin Yong's research, put the creation of Jin Yong's martial arts novels under the theoretical vision of "modernity" in a world, and discuss its In the 20th century, especially in the 1990s, martial arts novels displayed the "modernity" character in the multi-dimensional space of literature, culture, society, etc., especially how "the 1990s" became the key word in the modernity research of Jin Yong's novels. a more detailed analysis. It emphasizes that Jin Yong's martial arts novels are also deeply influenced by the new literary concepts since the May Fourth Movement. The novels have always raised the modern concept of "human", emphasized the spirit of human independence, justice and freedom, and changed people from thousands of years of traditional customs. Liberated from the ethical rules formed, it also profoundly penetrates all the weaknesses in modern human nature and the wounds of the soul deep in human nature. At the same time, Jin Yong's martial arts novels deeply reveal the modern pessimism experienced by modern people in the turbulent social "progressive" historical movement of the 20th century. "The more the nation is, the more the world is." Even though Jin Yong's martial arts novels reflect multiple "modernity" features, in essence, Jin Yong's martial arts novels embody strong "national modernity" features, making them popular in Chinese Great success in literary reading circles. Therefore, this paper believes that the existence of Jin Yong's martial arts novels is not only a type of novels and literary products, but more of a "modernity" textual sign of this era, serving as a reference for modernity time . Because, from the perspective of textual characteristics, Jin Yong's martial arts novels not only represent the continuation of traditional literature, but also the pioneering development in the field of popular literature; from the perspective of time, it represents both the past (the time of the text in the creation) and the The future (a new era of reading); from the perspective of the spiritual structure of the text, it represents both an imaginative restoration of past history and a reflection on modern history. It seems that all this is in the change of "modernity", which has led to a deeper and wider influence on the reading and research of Jin Yong's martial arts novels. Therefore, Jin Yong's martial arts novels began to be transformed and innovated from classical novels, deeply infiltrated the author's own various life and historical experiences of modernity, and finally returned to modernity writing with more national characteristics, thus making his The creation of martial arts novels has achieved great success in the history of Chinese literature and the wider Chinese-speaking circle, and has climbed to the status of "classics" in modern literature. 本文在新世纪金庸武侠小说已成文学“经典”的形势下,试图整合既有的金庸研究的现代性思路,将金庸武侠小说创作放入一个世界“现代性”的理论视界之下,论述其武侠小说在20世纪特别是90年代,在文学、文化、社会等多维度的空间中所展示出来的“现代性”品格,特别是对“90年代”如何成为金庸小说现代性研究的关键词做了较为详尽的分析。强调金庸的武侠小说创作同样深受五四以来的新文学观念的影响,小说中一直高扬着现代“人”的观念,强调人的独立、正义和自由的精神,把人从几千年传统习俗形成的伦理规则中解放出来,也不无其极地深刻透视了现代人性当中的所有弱点和人性深处灵魂的创伤。与此同时,金庸武侠小说深深地流露了现代人在20世纪动荡的社会“进步”历史运动中所体验到的现代悲观情绪。 “越是民族的就越是世界的”,纵然金庸武侠小说中体现出多重的“现代性”特征,而究其实质,金庸武侠小说体现了浓厚的“民族现代性”特征,使得其在华语文学阅读圈中获得了巨大的成功。所以,本文认为:金庸武侠小说的存在不仅仅是一种小说类型和文学产品,而更多表现出来的是对于这个时代的一个“现代性”的文本标志,充当了一个现代性时间的参照物。因为,金庸武侠小说从文本特征上看,既代表传统文学的延续,又有对大众文学领域里先锋式的开拓;从时间性维度看,它既代表过去(创作中的文本时间),又代表未来(新的阅读时代);从文本精神结构上看,它既代表对于过去历史的想象还原,又代表对于现代历史的反思。仿佛这一切都在“现代性”的变动之中,带动了金庸武侠小说的阅读与研究的影响更加深广。 所以,金庸的武侠小说创作从古典小说开始进行改造和革新,深度地渗入了作者自己对于现代性的多种人生和历史体验,最后又回到更具民族特征的现代性书写,从而使得他的武侠小说创作在中国文学史及更大的华语圈中获得了巨大的成功,并攀上了现代文学“经典”的地位。

또 다른 타자(他者) 읽기: 남아시아 근현대 미술의 이해

구하원 미술사와 시각문화학회 2012 미술사와 시각문화 Vol.11 No.-

2000년대 이후 국내미술계에서는 남아시아 근 현대미술에 대한 관심이 크게 늘었으나 이에 대한 학문적 논의는 거의 부재하였다. 남아시아 근 현대미술에 대한 이해는 미술사라는 근대적인 학문와 영국의 식민통치로 인해 다양한 문제를 내포하고 있는데 근 현대의 기점을 잡는 문제부터 근대(modern)와 모더니즘(modernism), 모더니티(modernity), 식민주의(colonialism), 탈식민성(postcoloniality) 등 개념을 정립하는데 일어나는 어려움, 그리고 작품과 작가의 해석에서 피할 수 없는 서구중심적인 사고를 들 수 있다. 이 논문은 남아시아 근 현대미술의 이해를 위해 이러한 문제와 용어를 정리하며 빠르타 미떠(Partha Mitter)와 기따 까뿌르(Geeta Kapur)등 대표적인 학자 2인이 이를 해결하고자 한 방식을 살펴보고자 한다. This paper examines the study of modern and contemporary South Asian art, which has been gaining much interest but not much academic studies in Korea. As an introductory essay to the subject matter, I have laid out the theoretical problems inherent in the studies of modern and contemporary South Asian art. Many studies have stated that most of these problems stem from the origins of art history as a modern discipline as well as the history of South Asia as a colonial space. Together with the colonial census, studies of languages and religions, law, and histories, South Asian art history progressed as a colonial project aimed to enhance classificatory governmentality. As a result, there has been much confusion in the definition of periods (when does the "modern" start and end in South Asia?), the terms used in studies of the period (modern, modernity, colonialism, nationalism, postcoloniality), and the interpretation of South Asian works from this period. The second part of the paper focuses on the ideas of modernity, modernism, colonialism, and postcoloniality. However, as concepts within a clearly Western epistemological framework based on the Western historical experience dating back to the Enlightenment, there rises a need to translate such terms when used in the context of South Asian history or art histories of any non-Euroamerican entity. Furthermore, contrary to the notion that the West/ metropole had sole possession of modernity as a phenomenon, scholars have argued that the production of modernity was closely related and dependent upon colonialism or the control of the colony. However, Modernism, as an artistic movement and form of resistance to the patriarchal and bourgeois art of Europe, also provided a means of opposition against colonial rule and Western domination to non-Western artists. This was ultimately accepted and adapted within the multiple facets of nationalism. On the other hand, postcoloniality arose out of a rejection of Eurocentric viewpoints; by describing the historical, political, cultural and epistemological conditions produced by and through the historical experience of colonialism, postcoloniality is defined as not a temporal period, but rather a rejection of the "lack" or "inadequacy" of the Other. The final part of the paper discusses two figures central to the history of modern and contemporary South Asian art. Art historian Partha Mitter and contemporary art critique Geeta Kapur have been most active in defining and critiquing approaches towards modern and contemporary South Asian art. However, while art historian Partha Mitter agrees that the “Picasso Manque Syndrome” is caused by an asymmetrical production of power, he also believes that a genuine loosening of the canon and of the teleological linearity of art history would lead to a global and universal art history. On the other hand, art critique Geeta Kapoor argues that achieving an "internationalism" or Western-based modernism is truly unobtainable, as third-world countries like India cannot avoid the collision between nationalism and internationalism. As non-Western but non-South Asian scholars of modern and contemporary South Asian art, it would be most beneficial to consider the arguments of Mitter and Kapur when positioning oneself in the discipline.

제들마이어의 근대예술 비판론

최병길 범한철학회 2008 汎韓哲學 Vol.50 No.3

제들마이어는 근대 예술작품의 본질 규정에 있어서 경험주의나 유미주의의 한계를 극복하고 구조연구나 구조분석을 통하여 예술의 근원을 파악하는 방법론을 제시하였다. 후기 저서인 『위기의 예술: 상실된 중심』에서 근대문명의 특성을 파악하면서 쇠퇴해진 근대문명이 슈펭글러의 유기체론에 따르면 재생 가능하겠지만, 기계문명의 여파로 실현되지 못했다고 판단했다. 니체의 언급을 빌려 근대문명과 근대예술이 공히 병적인 상태에 처해 있다고 비관했던 그는 잃어버린 중심, 상실된 빛, 인간과 자연 등과 같은 근대예술의 본질 명제들을 제기하면서 정신성 부재를 강하게 비판, 대안제시에 나섰다. 근대예술의 재생 가능한 원천으로 인간의 이상을 내세웠다. 고대문명과 고대예술에서 인간 이상이 쇠퇴기에도 상실되지 않았던 증거를 찾아냈던 그는 근대예술의 지고한 가치로서 그러한 인간 이상의 비유를 제시했다. 그것은 신인조화론적 가치관이나 이성과 감성의 조화를 추구하는 신플라톤적 미학에서 유래한 것이었다. 근대예술의 또 다른 문제점은 예술의 자율성과 순수성이었다. 거기서는 인간의 통일된 중심이 상실되고 신과 분리됨으로써 이성적, 지적 수준이 사라졌으므로 그것을 병적이면서 죽은 비유를 가진 것으로 변질시켰다는 것이다. 그러나 그는 근대예술 전반을 부정하거나 거부했던 것은 아니며, 인간화의 경향을 벗어난 것만을 선별적으로 거부했다. 그는 최종적으로 근대예술의 재생 가능성을 제시했는데, 그것은 유머와 아동스러움이 있는 예술이었다. 그것은 기계공학에 편중된 근대예술의 경향에서 벗어나 인간이 주체적으로 선도할 수 있는 예술형식의 제안으로서 특별한 새로운 예술운동을 지칭하는 것이 아니라 인간성의 회복운동이요, 일종의 도덕재무장 운동을 지칭한다고도 볼 수 있다. Hans Sedlmayr suggested a methodology to grasp at the origin of art through the research or analysis of its structure in defining the essence of artworks in modern times. Its outcome was in disclosing the Zeitgeist and origin of art by overcoming the limit of Empiricism or Aestheticism. His initial art criticism being formed in this manner, was later transformed into an attempt to research in terms of civilizations. He, in the structure of thought, terms, etc. of his later book, Art in Crisis: The Lost Center, paid a keen attention to grasp at the characteristics of modern civilization, influenced by Spengler's book, The Decline of the West. In particular, he foresaw that modern civilization regarded as being in a state of senility from the standpoint of civilization's history can be apparently revived if accepting Spengler's theory of organism, but saw that it was not accomplished by the aftermath of mechanical civilization. Thus he, borrowing a French Existentialist Nietzsche’s remark, expressed a pessimistic opinion that both modern civilization and modern art are in the state of disease. He, raising the essential theses of modern art such as lost center, dead light, man and nature, etc. on the basis of methodology of artwork's structure analysis and intuitional interpretation, attempted to strongly criticize the absence of spirituality in modern art and to suggest its alternative. He stated a highest value of man's ideal as the origin that modern art can be revived. What he, in comparison of ancient civilization with modern civilization, ancient art with modern art, wished to get from the antiquity was in that man's ideal was never lost even in the state of decline of ancient civilization. But modern civilization of 19th and 20th century lost man's ideal and adulterated amidst a whirl of mechanic civilization. He thought that its cause was in a loss of analogy between man and nature that was survived from the ancient civilization. Analogy, by his definition, was a phenomenon appearing in the art arousing the intimacy between man with adequate measure and God. Thus it was nothing but an expression of the theory of harmony between man and God, or a Neo-platonic aesthetics in pursuit of the harmony of reason with emotion. Another problem of modern art that he raised was autonomy and purity in art. He saw that the unified center of man was lost and was separated from God in modern art, from the result of which the rational, intellectual level of art was disappeared. Autonomous art created autonomous man, which led to a separation of man from God, and deteriorated modern art as having a morbid, dead analogy. However, he negated or denied not the whole modern art, but only one escaped from the tendency of humanization. He finally suggested a possibility of revival of modern art, which was an art with humor and childishness. It was a suggestion of art form that man can lead subjectively beyond the trend of modern art leaned upon technology. In a sense it can be called a movement of recovery of humanity as well as moral rearmament, not a simply new art movement.

신학철의 〈한국 근·현대사〉 연작 연구

한재섭(Han, Jaesub) 한국근현대미술사학회 2011 한국근현대미술사학 Vol.22 No.-

This dissertation is about Shin Hak-chul’s The series of Korean Modern·Contemporary History, which was a great result of 1980s Minjoong Art. The series of Korean Modern·Contemporary history works are considered as the most typical art of the published history paintings from 1980s Minjoong Art. The works were also known for it created a beauty of structure based on modernism, which was not just a reconstruction of a historical event. Shin Hak-chul’s history paintings continued even after the 1990s and continuously questioned about the role of Art as social statement. Therefore, it was a work which shows the attribute of visual culture reflecting the symptoms and features of that era. Minjoong Art was the social communication with art and a Realism Art Movement based on visualizing neglected people’s real life. Shin Hak-chul joined the Minjoong Art movement by his the series of Korean Modern·Contemporary History starting from 1980s Korean Modern History 1. However Shin Hak-chul was an artist of affiliation with Modernism which was emphasizing purity of art starting ever since his college year. He started as an artist at ‘Korean Avant-garde Association(AG)’ with objets in 1970s. Before joining ‘AG’, he worked on Pop Art and Surrealism. On the other hand, Shin Hak-chul changed his point of view of the world and art by denying Modernism Art’s self-contradiction. It was put together to his piece by his doubts and introspections of the art and reality of the 1970s dark political situation and the resistance of the new consumer society. The Korean Modern History work was born in these changes and opened the gate to history painting in Minjoong Art. The Korean Modern History work saw Korea’s problem was from Japanese colony’s dividing system. And criticized the problem of politic powers living on the contradiction of the system. This was visualizing the Korean modern history from the public’s point of view, which was put to silence until then by the nation. The Korean Modern History work shows the optimistic view and the failure that came along with the 1987, ‘June Resistance’, which was the turning point of the Korean modern history. The ‘June Resistance’ ended as a perfunctorily democratization, leaving the old system’s problem unsolved. Shin Hak-chul exposed the selfish snobbery of the a historical hierarchies and the middle class, who brought failure to the ‘June Resistance’. The Korean Contemporary History-Invocation of the Spirit of a Deceased work was a report on the fabrication of the history settling operation after the middle 1990s. And it has the character of a monument memorial for a bad accident by remembering in Shin Hak-chul’s formative language of the people who were falling back in to the past for the political investigation and the social unification from the advanced democracy’s space. Shin Hak-chul history painting’s middle evaluation, Gapsoonyee and Gapdolyee-Korean Contemporary History (2002), was a piece that restructured the Korean modern history by gathering the individual’s memory instead of the public. It meant that change of history was not a record of facts from the past of the nation or the people. It was rather the creation and destruction of the individual’s memory and desire that created the history. It was not a perpendicular social structure where it was divided in to ruling caste and subjugated class that created history, it was when everyone were a minority and were tied up together. Furthermore, the change from vertical to horizontal composition in works reflected the change in artist’s historical awareness and Korea society after the 1990s. Shin Hak-chul’s The series of Korean Modern·Contemporary History did not intend to formally reconstruct the historical accidents and chose to go with modernism. The combination and intended collision between the advertising image of consumer society and the pictures recording historical accidents created a montage, which catched the dyn

또 하나의 냉전

박소현(Park So-Hyun) 현대미술사학회 2006 현대미술사연구 Vol.19 No.-

In 1970, the so-called 'revisionists' of the United States criticised that 'the triumph of American art' was the product of 'cultural Cold War' and Abstract Expressionism as well as the Museum of Modern Art in New York were the weapons of Cold War. Their criticism suggested the problematic issues about modern art in Cold War, but they had some logical limits in their literatures: on the one hand, they were almost interested in the centre of modern art, Paris or New York, and on the other hand, they believed the 'centre', understood as American art in New York after World War Ⅱ, was getting to be diffused into the other areas step by step, for example, Europe in the 1950s, Asia in the 1960s. This means even the critical 'revisionists', probably unconsciously, were not free from and consequently reproduced the geopolitics of the 'centre' with regard to modern art. As for Japan, however, the cultural Cold War' did not come late in the 1960s, but started from the Occupation of the GHQ (General Headquarters/Supreme Commander for Allied Powers) in 1945. And although under the Occupation, the meaning of modern art in Japan was not directly connected to 'the triumph of American art', rather the exhibitions of French modern art were vigorously held. These exhibitions were taken place almost by the newborn 'Kokuritsuhakubutsukan (National Museum)' which had been the property of Tenno (Emperor of Japan) but was reconstituted as that of people by the GHQ on the basis of the Occupational ideology of 'democracy' after the defeat of war. In short, there appeared the 'cultural Cold War' in Japan during the Occupation years in the form of 'democratic modern' French art. And more, the ideology of 'democracy' was so discussive, inconsistent and changing one that could not say that the ever-determined principle of the 'centre' was received as it was without any resistance or modification in Japan. Therefore, I think the case of Japan under the Occupation is a good one to question about the geopolitics of 'centre' reproduced by the 'revisionists'. During the Occupation years, the meaning of 'democracy' and 'democratic modern' art was changed gradually, from anti-militarism (or anti-nationalism) to anti-communism (or anti-socialism) and ended up to the resurrection of Japanese nationalism. With these changes, the French artists or artistic movements was selectively accentuated, from Impressionists to Fauvists or Cubists and to decorative Fauvists, especially Matisse. First, right after the defeat of war, because the Occupational principle was centered on the anti-militarism, 'democracy' was interpreted as a broad one, including socialism, and so there happened a series of competitions for which one is more 'democratic' art between Impressionist realism and socialist realism. But with the opening of 'Kokuritsuhakubutsukan' in 1947, in the second place, the meaning of 'democracy' in that institution was changed into anti-communism, and at the same time 'the autonomy of art(art for art's sake)' was underlined as the institutional principle. On the behalf of this principle, art criticisms and artistic discourses also put it that Fauvists or Cubists was more developed ones than Impressionists because the first was closer to 'the autonomy of art' than the last. This interpretation was conscious of the formulation of modern art by Museum of Modern Art in New York regarded as 'center of art world' and the extraordinary Museum of Modern Art was open within the Kokuritsuhakubutsukan in 1948. And then, from 1949 to 1951, the third aspect of these changes, The GHQ decided to make Japan anti-communist base in Asia, and for the purpose of it to make Japan an independent nation-state was needed. So the Kokuritsuhakubutsukan made a great point of worldliness of Japanese art, and emphasized the superiority of Japanese classics or traditional culture which had been regarded to influence French modern arts. This was the return of Japonism which ha