중국 호북미술학원 미술기초조형교육의 과제와 방향에 대한 연구

도학회(Do, hakhoe),유향동(Liu, Xiangdong․,Guo, Lan),곽탄,황찬(Huang, Can) 한국미술교육학회 2010 美術敎育論叢 Vol.24 No.3

최근 한국과 중국의 미술교육분야 교류가 활성화되는 시점에서 예술교육을 전문으로 하는 중국 호북성 무한시의 역사 깊은 호북미술학원과 한국의 한국예술종합학교의 기초조형교육을 비교연구 하였다. 연구의 과제는 1학년 기초조형교육과정을 그 범위로 하고, 교육과정과 함께 학생들의 심미의식과 교사들의 교육관도 함께 조사하여 보다 효과적인 비교방법을 모색하였다. 비교결과 호북미술학원의 한국예술종합학교에 비해 교육과정이 단조로웠다. 특히 호북미술학원이 2006년부터 실시한 시각예술기초부의 기초조형교육은 통식교육의 지향, 입시교육의 교정, 예술적 감수성의 향상, 인문학적 접근 등을 목표로 하고 있으나 입체 및 매체교육을 생략함으로서 한국예술종합학교의 파운데이션 과정에 비해 학생들에게 다양한 양식의 미술들을 이해시키고 체험시키는 문화교육적 공간으로서의 미술교육과정으로는 폭이 좁았다. China, in the area of culture tradition, has been considered as the suzerain state of Orient and has long been related with socialistic culture. The Arts Education Society, whichhas recently imported Western culture, has worked with various and new trends of today's Western culture. Today, The educational exchanges between Korea and China have been drastically developed and the many cases of the study on mutual development are needed. The Hubei Art Institution, located in the Mid-China, has 100 years of tradition and is one of the many institutions which have undergone the changes in progress in the arts education of China today. The problems of the standardized education in the existing Korean Universities, art educational institutions as well as in the Hubei art Institution have been pointed out even though they have common features, as in the recently established the Korea National University of Arts in farming of the professional artists in the pre-art educational programs(Foundation Course) and systematic art education programs. Many differences can be found in their goals as well as in the details. The specifics of the education in the Basic Visual Arts Division of the Hubei Arts Institution are in the emphasis on the refinement of the entrance examination, the advancement of artistic sensibility, the exclusion of the three dimensional and the mixed media education. as well as the educational philosophy based on humanistic perspectives. The educational specifics of fundamental level of the Korea National University of Arts are the expansion of the use of visual language; the experience of visual expression in work process; the expansion of reasoning; and the rearing of artists upon educational methods of the Renaissance; the studio-oriented education; the critique and presentation based class methods. The differences seemed to have common goals in the perspectives of esthetics, but many differences can be found in approaching different methods. In the matter of considering the vagueness of the value of arts, the Hubei Arts Institution's basic visual education has relatively a limited curriculum, compared to the Korea National University of Arts, and, as a result, its educational outputs are relatively simple. Gaps can be found in the rapidly changing world of arts education, not only because of the exclusion of the educational process of three dimensional and media, of which the curriculum that the Basic Visual Arts Division once formulated, but also because of the import of the expressing methods in two dimensional education which are limited in the traditional methods. As a result, a number of scholars set up international exchange programs in arts education- expansion of the exchange programs in mixed-media; emphasis on the personal experiences in arts; emphasis on the creative education; classes for all students for the advancement in education as well as for the recovery from the relative weaknesses of the Hubei Arts Institution. This means that the direction of the arts education today is not limited in one area of arts, but it surpass the visual culture education and connects and set the direction to the social phenomenon in general as well as to the communication, which forms spaces for the culture education. These agendas should be studied in the freshmen year when the basic concepts of arts are educated. So, the approach to the elementary level in arts in general should be experienced so that the thought ability of students can be developed in the earliest time. The Hubei Arts Institution has relatively a simple curriculum in the basics of plastic arts education, compared to the Korea National University of Arts. But it is not the writer's intension of judging one school from another by the completeness of a curriculum of one school.

모작을 통한 백제관음의 조형성 연구

도학회(Do Hak-Hoe) 한국미술교육학회 2004 美術敎育論叢 Vol.18 No.3

일본 법륭사에 있는 백제관음은 세계적인 작품으로 명성이 있다. 그리고 ‘백제’라는 명칭 때문에 한일간에 제작자의 국적 논쟁이 분분한 작품이다. 연구자는 다른 학자들 의 이론과 역사적 근거를 조사하였고 또한, 이 작품을 직접 모작의 방법을 통하여 조 형성을 고찰하고 작품감상의 방향을 모색했다. 모작을 통한 조형성의 고찰은 더 세심한 관찰과 신체적 체험의 과정을 거치기 때문에 이론적 접근과는 다른 각도에서 작품 을 분석할 수 있는 가능성을 가질 수도 있다. 그리고 모작의 결과물은 실물의 사진 촬 영 및 공개를 제한하고 있는 현지(일본) 사정과 관계없이 과거 우리 문화와 깊은 연관성을 갖고 있는 우수한 문화재를 직접 감상 할 수 있는 계기를 제공한다. 모작의 경험 을 바탕으로 연구자는 백제관음상에서 보관, 얼굴, 대좌, 광배, 복식, 시대적 정황 등 의 특징들을 고려해 볼 때 ‘백제관음’에는 고구려적인 것으로 볼 수 있는 조형적 특성 이 많다는 의견을 제시한다. The Bakjaekwanum, 百濟觀音, at the Horyuji(法隆寺, ) in Japan has its international reputation until today. And, because of its name, Bakjaekwanum? there has been many disputes over the nationality of the artists. Through the hands on investigation on model work as well as thorough studies in both historical and theoretical basis, a question arises on its name, Bakjae. Since the study on the plasticity, according to the model work, takes process of more detailed investigation and physical experience, it has possibilities which require the analysis of the work in different perspectives that are different from the theoretical approaches. The outcome of the model work provides us opportunities that has nothing to do with the difficulty of the on site visits and on site photographing which enables appreciation of superior asset that has intimate relationship to our past. In 7th century, Japan and three countries in Korean Peninsula shared cultural similarities as well as dissimilarities in many aspects. Thus, I like to make points that, considering the safekeeping, the frontal shape, the pedestal, the halo, the dresses, as well as the contemporary circumstances of the time, more of the formal aspects of Kokuryo are found than that of Bakjae.

상원사종과 성덕대왕신종의 용뉴(龍鈕)에 대한 고찰

도학회(Do, hakhoe) 한국미술교육학회 2011 美術敎育論叢 Vol.25 No.3

한국종의 대표작은 상원사종과 성덕대왕신종이다. 이 종들은 현재 남아있는 종들 중에서 가장 이른 시기의 것임에도 조형적으로 가장 아름답고, 소리도 가장 아름다운 것으로 평가받고 있다. 이 종들의 용뉴장식인 용과 음통은 한국종의 형식에서 가장 뚜렷한 특징이다. 이 두 개의 장식은 이 종들이 조성되기 직전에 형성된 문무대왕의 해중릉(대왕암)에서 비롯된 만파식적의 설화에서 비롯되었다는 설이 있으며, 그 형상은 동해의 용이 만파식적을 업고 나오는 형상이라고 하였다. 그러나 연구자는 성덕대왕신종의 명문, 삼국유사의 내용 그리고 종의 역사를 고찰한 후 이 두 개의 형상은 만파식적과 호국용이 된 문무왕을 형상화 하였다는 것에 동의한다. 다만 용의 자세가 음통을 업고 있는 것이 아니고 음통에서 용이 나오는 형상인데 이는 만파식적에서 호국용의 능력이 나온다는 것이다. 그리고 음통에서 용이 나오면서 뻗치는 두 개의 다리가 결국 한국종의 조형적 특징이 되었다고 본다. The Sangwonsa Bell and The Bell of King Sungdeuk are considered to be the most representative bells of Korea. And, often, theories about the imitation of Dragon bell of China, as well as the story of Manpasikjuok (만파식적) have been discussed with the relation to the dragons and the Sound pipe. Based on the extensive experiments with more than 5 bells, as well as the experiences and the study on humanity in general, the author explained the following result of the study. First, considering the periodical background, The King’s Rock came out of the will of protecting civilians and the nation from Japan, and in memory of his father, his son, King Shinmoon, built the Gameunsa Temple and the memorial ceremony for his father King Moonmu showed spiritual communication with King Moonmu’s succession of the united leadership as well as the protection of one’s fatherland. Second, Through the process, it can be estimated that King Shimoon was thought to receive trusts from gods and gave experimentation on bells and other sounding instruments which were different from previous ones like Manpasikjuok. As a result, the style of the bell of the United Kindom of Shilla, which based on Chinese dragon bell tradition, were finally completed as the Sangwonsa Bell in King Sungdeuk period and continued to be the Whangryongsa bell, and The bell of the King Sungdeuk. Third, the style of the story showed the idea of the East Sea Dragon King of the Shilla Period, but at the same time, the style of expressing bells of Sangwonsa Temple, Whangryongsa Temple, and The Sungdeuk King showed strong Buddhist values which could be related to the SSangjook(쌍죽) story of the Great Euisang monk’s Buddhist beliefs which were formed 10 years before. Fourth, the dragon of Yongnew(용뉴), according to the stories, was about the ideas of the dragons making nation peaceful if the Manpasikjuk was blown, but not about dragons with a flutes. So one could perceive that dragon was not the symbol of representing something but was the symbol of King Moonmu who became a dragon protecting his country. One could think that the dragon and the King Moonmu was one by itself. Fifth, it was hard to see the dragon position of the bell of United Shilla Period was in the head of bells. Polue(포뢰) meant a bell which feared and sounded loud if it saw a fish. The dragon of the Yongnew of a United Shilla Bell symbolized that the Bell of the Sungdeuk King protected border which meant it was differ from that of China or Japan but it was rather a dragon which protected a country as the one of the Kimryushin’s (김유신). It was clear that bells of Korea were differ from those of Japan or China, and it was not necessary for the two dragons didn’t have to support the bell. Sixth, Korean Bells have different features, like two added legs which were designed to show the great look, from those of other countries which didn’t have relation to the lifting function of bells.