한국적 정서를 기반으로 한 민화(民畵)의 현대적 분석 : 본인의 작품을 중심으로

다국어 초록 (Multilingual Abstract)

This study investigates the contemporary significance and creative potential of Minhwa (Korean Folk Painting) by redefining it as an 'Art of Emotion' that visually embodies core Korean sentiments, such as Humor (Haehak) and Affection (Jeong).
By analyzing five of the researcher’s own artworks, this study confirms that the aesthetic of Minhwa—characterized by its non-realistic composition and bold use of color—serves as a medium for conveying 'emotional truth.' The analysis identifies three key modern applications: 1) Recontextualizing Korean Sentiments, wherein traditional motifs (e.g., the Tiger) are applied to critique modern psychological states such as social isolation; 2) Expanding Symbolism to construct multi-layered narratives that blend satire with fantasy;
and 3) Functioning as Therapeutic Art, in which the creative process itself facilitates psychological recovery and comfort for the artist.
In conclusion, Minhwa is not merely a historical artifact but a vibrant, creative asset that fulfills the emotional and therapeutic needs of contemporary society. It represents a powerful, localized aesthetic with significant global potential within the landscape of K-Culture.

국문 초록 (Abstract)

본 연구는 한국 전통 회화인 민화(民畵)가 지닌 미학적 가치와 한국적 정서 구조를 분석하고, 이를 현대 사회의 정서 체계 및 창작 언어로 변환하여 민화의 현대적 의의와 확장 가능성을 규명하는 것을 목적으로 한다. 민화는 조선 후기 서민의 삶과 염원이 집약된 대중적 회화 양식으 로, 단순한 장식화를 넘어 해학(諧謔), 정(情), 한(恨), 흥(興) 등 한국인의 고유한 정서가 농축된 '감정의 언어'이며, 그 본질은 조형적 완성보다는 정서적 진실에 가치를 두는 한국인의 미의식을 구현했다. 민화의 자유로운 구도와 과감한 진채(眞彩) 사용, 비례의 왜곡 등은 이러한 독자적인 정서 미학의 발현이었다. 이처럼 민화는 과거의 산물을 넘어 현대인의 감정적 필요와 치유적 욕구를 충족시키는 창조적 자산임을 본 연구는 전제로 하였다.
연구자는 이러한 이론적 분석을 바탕으로 본인의 창작 작품 5점 (「나, 불렀어?」, 「Munmu. The Dragon King」, 「그대에게」, 「까치 호랑이」, 「나의 봄날」)을 중심으로 민화의 현대적 변용 과정을 한국적 정서의 원형, 해학과 상징, 정서적 위안과 치유라는 세 가지 핵심 범주로 나누어 실천적으로 분석하였다.
첫째, 한국적 정서의 원형을 탐구한 작품에서 전통적 정서가 현대적 감수성과 어떻게 교차하는지 분석하였다. 「나, 불렀어?」는 전통의 공동 체적 온기(안온함)와 현대인의 정서적 고립(외로움)을 대비시키고, 호랑이를 단순한 위압의 상징이 아닌 관계에 목마른 타자로 재해석하여 현대 인의 심리를 투영하였다.
또한 「Munmu. The Dragon King」에서는 문무대왕 설화를 현대적으로 재구성하여 용(수호자), 탑(염원), 파도(역경)를 배치함으로써 과거-현 재-미래가 공존하는 민화적 시간성을 구성하고, 용에게 수호자적 초월성과 정서적 공감성을 함께 부여하여 공동체의 보호 서사를 현대적으로 재해석하였다.
둘째, 해학과 상징 영역에서는 민화가 지닌 풍자성과 다층적 의미 구조를 현대 사회에 적용하였다. 「그대에게」는 일월오봉도라는 권위 상징 위에 호랑이와 토끼를 배치하여 두 개의 해석을 가능하게 하였다. 하나는 달이라는 허상을 좇는 권력자를 풍자하는 해학적 세태 비판이며, 다른 하나는 달을 따주려는 구애자와 신적 존재의 환상적 사랑 이야기로 읽히는 다층적 의미 구조이다. 「까치 호랑이」는 전통 호작도 기반에 산악자전거를 탄 호랑이를 등장시켜 두려움의 상징을 생명력의 상징으로 전환하였다. 유머러스한 호랑이의 도전과 웅장한 탑(정신적 완성)의 결합은 삶의 무게를 감싸고 희망을 이끌어 내는 치유적 해학의 힘을 보여주 었다.
셋째, 정서적 위안과 치유 영역은 창작 행위 자체가 지니는 치료적 기능을 실증하였다. 「나의 봄날」은 작가 개인의 심리적 불안과 회복 과정을 경주(첨성대, 벚꽃)라는 공간성과 민화라는 조형 언어에 투영한 치유적 예술(therapeutic art)의 사례이다. 화면을 가득 채운 벚꽃은 정서적 회생의 증거이며, 익살스러운 표정으로 셀카를 찍는 호랑이는 웃으며 돌아온 자아이자 관계로 복귀하는 주체를 상징한다. 이 작품은 민화의 밝은 색감, 반복적 채색, 몰입 구조가 창작자에게 심리적 안정과 자기회 복을 제공함을 실증적으로 입증하였다.
이러한 결과를 종합할 때, 민화는 단순히 과거의 유산이 아니라 감정의 언어이자 치유의 예술로서 재정의될 수 있으며, 그 본질은 정서의 진실성, 감정의 교감, 삶의 긍정에 있다.
본 연구는 민화가 현대 사회의 감정적 필요와 치유적 욕구를 충족시 키는 창조적 자산임을 입증하며, 전통 회화의 미학적 가치를 현대적 정서 체계 속에서 재맥락화(recontextualization)한 데 그 의의가 있다. 또한 민화를 K-문화 시대의 정체성과 예술적 자긍심을 상징하는 창조적 자산 으로서 글로벌 소통 가능성을 제시한 의미 있는 시도이다.
향후 민화는 디지털 미디어를 활용한 인터랙티브 콘텐츠 개발, 심리 학적 관점에서의 치유 효과 검증, 그리고 글로벌 예술 시장 내에서의 독자적 미학 연구 등을 통해 학문적·문화적 확장을 지속할 수 있을 것으로 제언한다.

목차 (Table of Contents)

• Ⅰ. 서론 ····························································································· 1
• 1. 연구의 필요성 및 목적 ············································································ 1
• 2. 연구 범위 및 방법 ····················································································· 5
• Ⅱ. 이론적 배경 ················································································· 6
• 1. 민화의 정의 ································································································· 6
• 2. 민화의 발생 배경 ······················································································· 8
• 1) 사회적·문화적 배경 ··············································································· 8
• 2) 종교·신앙적 배경 ················································································· 10
• 3) 사상적 배경 ··························································································· 10
• 4) 근대화의 영향 ······················································································· 11
• 5) 감정의 미학으로서의 민화 ································································ 12
• 3. 민화의 특성 ······························································································· 13
• 4. 현대사회에서 민화의 재해석 양상 ····················································· 15
• Ⅲ. 민화의 현대적 분석 ································································· 18
• 1. 한국적 정서의 원형 ················································································ 18
• 1) 『나, 불렀어?』분석 ··········································································· 18
• 2) 『Munmu. The Dragon King』분석 ··········································· 23
• 2. 해학과 상징 ······························································································· 28
• 1) 『그대에게』분석 ················································································ 28
• 2) 『까치 호랑이』분석 ·········································································· 34
• 3. 정서적 위안과 치유 ················································································ 39
• 1) 『나의 봄날』분석 ·············································································· 39
• Ⅳ. 논의 및 결론 ············································································· 45
• 참 고 문 헌 ········································································································ 49
• ABSTRACT ······································································································ 50