해방공간의 한국미술 : 서구문화 수용과 민족정체성 구현의 문제 = Adoption of Western Culture and Embodiment of Korean Identity in Modern Korean Art of the 1950s
저자
김형숙 (서울대학교 미술대학 동양화과)
발행기관
학술지명
권호사항
발행연도
2001
작성언어
Korean
KDC
620.000
자료형태
학술저널
수록면
13-25(13쪽)
제공처
Following the Korean War and Independence in 1945, South Koreans attempted to establish a modem Korean government and to construct a new society. This reconstruction called for the adoption of Western culture and embodiment of Korean identity at the same time. This was reflected in Korean art of the 1950s, which combined Japanese influence during colonization and Western influence after the Korean War. This paper will examine modem Korean art by asking the question, How was Korean traditional art reinterpreted when modern Korean artists accepted the influence of Western culture? The relationships between artists, the art world, and art education are investigated, in order to understand the 50's cultural environment. Previous studies have looked at art or the art world, or art education in isolation from one another, and therefore they could not explain the big picture of art, the art world, art education within the context of the 50's Korea.
During the 50s, when Korean artists accepted the Western art world, they reconstructed modern Korean art, was organized during this time and exhibited the academic style of artworks by Ko Heedong, Lee Jong-woo, and Do Sang-bong, all influenced by Impressionism in Japanese art. Additionally, with the publication of the first art journal in 1956 and the opening of the modem structure of galleries at the center of Seoul, Korean artists had more diverse opportunities to exhibit their works of art.
Artists in the 50s interpreted the Korean tradition newly and formed a Korean identity by accepting the Western artistic style and methods in Expressionism, Informel, and Abstract Expressionism. Park Soo-keun painted people struggling to survive after the Korean War, reflecting the atmosphere in Korean at the time. He made the thick matre of white, black, and gray oil paint like Korean granite on canvas made of cardboard and veneer board. Lee Joong-seup was interested in Korean traditional motifs such as cows and children, experimenting with improvisational and expressive brushstrokes as seen in Expressionism of 20th-Century Western Art. Kim Hwan-ki's artworks established a modern picture of the calligraphic school with the use of materials of Western art and Korean traditional motifs such as mountains, moon, trees, and so on.
When the first generation of Korean artists in the 50s received modem art education, they were much more positive and open to accepting Western art. Young artists of the and the attacked the ward-heeling politics of and searched for a universal visual language that could keep step with the International world, particularly Western culture. Having been exposed to modern Japanese art and art books, Korean artists were interested in the trends of Informel in Europe and Abstract Expressionism in the United States. Like Jackson Pollock's action painting, Korean Informel artists dripped the paints on the surface of canvases and created Korea's own calligraphy.
After Independence in 1945, the art world of Korean traditional painting and sculpture also tried new ways to modernize traditional Korean art by overcoming Japanese influence. Lee Sang-bum, Byun Kwan-sik, and Park Ryae-hyun maintained the style of Korean traditional painting while also adopting the style and materials of Western art. Park kept the materials of Korean painting such as Hanji and Korean paints; however, she also positively adopted the style of Cubism and Abstract Expressionism.
Before the 50s, Korean sculptors remained in Japan and learned modern sculpture from modern Japanese artists. However, following Independence, Korean sculptors came to a turning point in practicing modern sculpture. Kim Jong-young in the 50s produced abstract sculpture, which seemed to be influenced by Constantin Brancusi in Western art.
Additionally, modern art education also opened after Independence when Korea accepted the system of Western art education. From 1945 to 1956, Ewha Women's University, Seoul National University, and Hong Ik University shaped the modern structure of art education and produced new young artists. Japanese influence on Korean art education was a serious problem that had to be overcome in the 50s. Additionally, art textbooks 'Do Hwa ° § Gong Jack' in Japanese Colonization had been transformed to Mi Sool.' Instead of Japanese art education, ‘New Education,’ based on the 'Creative-Self Expressionism' of 'Progressive Education' of the early 20th century, was emphasized in the field of modern education. When the UN and the United States offered economic and political help to reconstruct Korean society after the war, went to Korea and introduced and experimented with John Dewey's philosophy of Education. For Koreans, Dewey's theories and practices of Progressive Education from the United States provided a hope to overcome old Japanese structures and thoughts in Korean education.
The 1950s' Korean art, art world, and art education went through the Korean War, and are considered to be a stepping stone between modem Korean art under Japanese influence and modem art of universal international language.
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