1950년대 전반 한국미술에서 他者읽기

다국어 초록 (Multilingual Abstract)

South Korea in the early 1950 underwent the construction of the nation after the demise of Japanese imperialism. In this period, Korea recognized its own domain as a deadlock spot of Cold War between the East and West through the U.S. military government where the remains of Japanese imperialism couldn' t be removed. Korea also met the West directly through the Korean War. When the Korean War broke out on the peninsu1a of Northeast Asia, the U.S. as a giant country involved in it, and the UN as a combination of the world took part in the war. Then Koreans realized their own land was an important area in the world situation. Furthermore, they recognized Korea was the front line against communism, where it had a value to be protected by all the people in the world.
This anti-communism elitism has the nationalist color painted over anti-communism. However, they considered the western world, a third party, as allies who were in the same position as Korea or advanced countries. As a result, the former made the Korean people identify with them and the latter let them be considered as an exemplary model, which became the motive to develop worship of the powerful within our mind.
The purpose of this study is to observe the other in self and the other as self in Korean art in the early 1950's. Goddess of Liberty hung on the outer wall of Busan City Hall in 1952 was painted by Korean famous painters, but it resembles a lot Liberty Leading the People by Delacroix. Through this picture, we can see France as the other within self and Korea bearing feminine images, which is ambiguous and antinomic.
Identification with France is well presented in the point that it was France where most artists left for during and after the war. The reason they chose France, and not Japan as the third country, was because they didn't know that the world art had moved to the U.S. and recognized France as a home of art. It is undeniable that his attitude resulted from Japan. regardless whether it was true or not.
Despite the U.S.'s efforts to introduce U.S. art in the late 50's, U.S. art had been regarded as a subordinate one of French art for a long time. It was not because the revolt against the art of U.S. capitalism, but because French art was already transferred into our tradition. The western painting circles, which were the mainstream at that time, accessed reflectively towards japanese western art after the Independence. The reflection may be presented as an enthusiasm to access art by visiting the home of western art.
Consequently, the concept of the other in early 1950 resulted from the rise of many dormant motives rather than from the U.S. However, there was also the influence of the U.S. Korean people gradually realized the view of the U.S. through a large number of magazines, printing media, and news photos. This view was proven in the photos filled with refugees crossing the broken bridge and picture meaning the Korean War, as well as Du-hwan Kim's A Field Hospital.
Du-hwan Kim's A Field Hospital represents the other angle through news photos, dealing with the figures of people injured by the war. If Liberty Leading the People makes people read the other within the self, who identifies one's own country with France. A Field Hospital shows the other as the self. The other in Korea art in early 1950 includes the self and surroundings adjusted by careful Orientalism in Japanese imperialism as well as the U.S. or the West. It proves that more complex society situation and discourses should be examined to analyze the content of Korean art.
The concept of the other object resulted from the ethics are nationalism that made Japan the other from imperialism to independence: considering the pro system against establishing a single government as anti-national subjects: criticism about people except for the extreme right, regarding the West and Japan as countries with advanced consciousness. etc. In particular, the anti-comm

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 1950년대 전반 美術言說에 나타난 他者
• Ⅲ. 1950년대 전반 美術作品에서 타자읽기
• Ⅳ. 맺음말
• ABSTRACT