전통문화의 창조적 계승을 위한 문화공간 활용방안: 광주향교와 희경루를 중심으로

한종완,정성임 아시아.유럽미래학회 2022 유라시아연구 Vol.19 No.3

This study aims to explore ways to utilize cultural spaces for creative succession by examining the cultural significance and aspects of Gwangju Hyanggyo and Heekyungroo. To this end, the background and role of the emergence of Gwangju Hyanggyo Confucian School and Heekyungroo Pavilion, and the significance and succession patterns of traditional culture were investigated and described, respectively. Furthermore, it sought ways to utilize cultural spaces to creatively inherit the traditional culture of these cultural assets. As a result, it was found that Gwangju Hyanggyo Confucian School and Heekyungroo Pavilion were significant as cultural properties built under the influence of Neo-Confucianism in the Chosun Dynasty. The case of overlapping traditional cultural aspects possessed by these cultural properties was also investigated and analyzed. Through this, it was intended to propose a plan to inherit the unique traditional culture style possessed by Gwangju Hyanggyo and Heekyungroo, but to use these cultural spaces as hybrid cultural spaces. How to creatively inherit the traditions of scholar culture. It was possible to confirm that Heekyungroo Pavilion as a cultural space limited to performance culture such as Korean traditional music performances, excluding the spiritual culture enjoyed by Confucian scholars, would lose its historical significance. It is hoped that it will be reborn as a high-leaved cultural space supported by cultural communication and cooperation with Gwangju Hyanggyo in accordance with the suitability of the reconstruction site.

애니메이션 영화에서 전통 문화 요소의 활용에 대한 연구 -〈대요천궁(大鬧天宮)〉과 〈백사, 연기(白蛇, 緣起)〉를 예로-

류슈천(Liu Shu-chen),이종한(Lee Jong-Han) 한국만화애니메이션학회 2021 만화애니메이션연구 Vol.- No.63

중국의 애니메이션 영화가 발전하기 시작한 이후, 희곡 공연 격식, 국화, 연화, 전통 건축, 전통 의상, 고전 민악, 석전(石磚) 조각과 같은 중국의 전통문화 요소를 애니메이션 작품 창작에 활용하는 것은 애니메이터라면 모두 추구하는 부분이 되었다. 개혁개방 이후 많은 외래문화가 대중 미디어를 통해 현대의 젊은 세대에게 영향을 미치고 있으며, 이는 현대인들 마음속에서 전통문화의 지위에 위기를 가져다주었지만 중국 전통 문화의 전파와 전승, 발전과 혁신을 위해 새로운 실행 가능성이 있는 참고 의견과 훌륭한 전파 경로를 제공하였다. 1941년 중국에서 처음으로 상영한 대규모 투자의 애니메이션 영화 〈철선공주(鐵扇公主)〉에서 최근의 신작 〈대성의 귀환〉, 〈강자아(姜子牙)〉 등 작품까지 중국의 수많은 전통 문화 요소가 융합되었음을 볼 수 있다. 본문은 중국의 전통 문화 요소가 풍부한 훌륭한 애니메이션 영화 〈대요천궁(大鬧天宮)〉과 〈백사, 연기(白蛇, 緣起)〉를 예로 들어 작품 속 캐릭터 조형, 배경 디자인, 배경 음악 요소와 같은 전통 문화 요소의 활용에 대해 분석을 진행하여 당대의 뉴미디어와의 결합을 통해 전통 문화를 전승하고 발전시킬 수 있는 방법을 보다 깊이 연구하였다. 연구를 통해 전통 문화 요소는 자체의 기본 특징을 따르는 한편, 대중 미디어와의 결합 및 시대에 알맞은 혁신 발전을 통해야 대중들에게 쉽게 받아들여지고 전승될 수 있으며 보다 생기 있는 생명력을 지닐 수 있다는 결론을 도출할 수 있었다. 대중 미디어와 결합하여 커뮤니케이션을 진행한 애니메이션은 예술과 상업이 융합된 결과물이다. 현재 수준 높은 일부 애니메이션에는 모두 풍부한 전통 문화 요소를 내포하고 있고 문화 내용이 없는 애니메이션은 훌륭한 애니메이션이 되기 어렵다. 성공적인 작품이라면 뛰어난 제작 수준을 가져야 하는 동시에 풍부한 전통 문화 내용을 작품에 주입해야 한다. 훌륭한 전통 문화 요소는 작품에 두터운 문화 기초와 강한 문화적 감화력을 더해주고 보다 가치를 지닌 문화 작품과 시대적 특색을 띤 전통 문화 혁신 요소를 창조할 수 있다. 간단히 말하면 본문에서 두 애니메이션 영화 중 활용한 전통 요소에 대한 분석을 통해 오늘날에 전통문화 전승과 발전은 맞이하는 도전과 기회를 논하고, 전통문화를 미디어와 결합하여 전파하는 방법을 탐구하고자 한다. 〈Shrek〉 Since the establishment of Chinese animation film, the traditional Chinese cultural elements such as opera performance, traditional Chinese painting, New Year pictures, traditional architecture, traditional clothing, classical folk music, stone and brick carving, and other traditional techniques. They are used in the creation of animation works, has become a common pursuit of the generation of animation. After the Reform and opening up, a large number of foreign cultures have impacted the contemporary young people with the help of mass media, which not only challenges the inherent position of traditional culture in the hearts of the contemporary people, but also provides new feasible reference opinions and good communication channels for promoting the dissemination and inheritance, development and innovation of Chinese traditional culture. China’s first large-scale animated film Princess Iron Fan, released in 1941, and recent works such as Monkey King: Hero is Back and Jiang Ziya all incorporate many excellent traditional Chinese cultural elements. This paper, taking Havoc in Heaven and the White Snake: origin, with rich Chinese traditional culture elements of the good Chinese animation film as an example. Analyzing the role of modelling, scene design, the background music, such as the use of Chinese traditional culture elements, further explore the combination of contemporary new media to traditional cultural heritage and development of the feasibility of the method. Through the study, it is concluded that traditional cultural elements can be more easily accepted and inherited by the public. And it have more fresh vitality by combining with mass media and innovating and developing with the times on the premise of following their own basic characteristics. Combined with the mass media to the spread of the animation is the product of the integration of art and commerce. Now part of good animation will contain rich traditional cultural elements, the thickness of the no animation is hard to become a good animation culture connotation. The success of the works are made in good level. At the same time, the rich traditional culture connotation of it. Excellent traditional cultural elements will add profound cultural deposits and powerful cultural appeal to the works, so as to create more valuable cultural works and traditional cultural innovation elements with more characteristics of the times.

우리음악의 창조적 변용세계 계승

신대철 한국국악교육연구학회 2016 국악교육연구 Vol.10 No.1

Even though there were no definite differences between original idea and creation in the current curriculum for elementary and secondary music education of Korea, the original idea and creation should be a goal for the education of Korean traditional music. These two for Korean traditional music education should be based on the cultural spirit of Korean traditional music. The original idea should be respected in the Korean traditional music education. However, the final goal of the Korean traditional music education for elementary and secondary school should not be the original idea but the future oriented educative activity toward the creation which is more positive and active than the original idea. The musical transfiguration which had lasted from the 6th century to the late 19th century is one of important Korean musical traditions. It was creative musical transfiguration which had characteristics of respecting the tradition of existing music and making new music based on the tradition. In other words, many pieces of Korean traditional music were based on musical cultural spirit which had made musical transfiguration possible from the existing traditional music and enlarged the number of repertoire through the way of new music making. The creative musical transfiguration was possible because there had been the traditional Korean’s view of music which valued and willingly accepted the musical transfiguration or change as a musical beauty. A deep introspection and rumination by a cognitive attitude on the world of creative musical transfiguration which found in Korean traditional music is needed for a better future-oriented creative elementary and secondary education of Korean traditional music. The meaning and value in the world of creative musical transfiguration should be properly evaluated, educated, continued and inherited to the future generations through elementary and secondary school education without any kind of hesitation or delay. The teaching and learning of Korean traditional music in school should be one of very meaningful, valuable and instructive satisfactory things. The music education of Korean traditional music for elementary and secondary school should aim at the instructive satisfaction which creates bright future and development. A right cognition and attitude on the creative musical figuration found in historical facts which based on tradition will help a lot to the creative future education of Korean traditional music. Achieving the aim of a desirable education of Korean traditional music for elementary and secondary school is not an easy job. It may be more difficult in the future. The difficulty, however, is not the object of shirk or fear but the object of overcome and sublimation. The good result of overcome and sublimation surely will come true if we challenge the difficulty in Korean traditional music education with effect. I would like to propose to keep in mind the spirit of creative figuration in Korean traditional music which will serve as a small momentum for the creation of upper mentioned overcome and sublimation of difficulty in Korean traditional music education. 비록 우리의 현행 초․중등학교 음악과 교육과정에서는 창의와 창조의 구별이 잘 드러나 있지 않지만, 이 둘은 우리음악 교육이 지향할 길이어야 한다. 우리의 초․중등학교 음악교육에서 이 둘은 우리의 음악적 전통정신에 기반을 두어야 한다. 음악교육에서 창의는 존중 받아야 하나 우리 초․중등학교 음악교육의 최종 지향점은 소극적이고 수동적인 창의를 넘어서는 승화의 적극적이고 능동적인 창조의 세계로 다가가는 미래지향적 교육활동이어야 한다. 우리의 음악적 변용은 삼국시대 이래 조선조 후기에 이르기까지 지속되어온 중요한 음악적 전통의 하나로 이는 기존 음악의 전통을 존중하는 바탕에서 새로운 음악을 만들어 낸 특성을 지니고 있는 창조적 음악변용이었다. 즉 현전 우리음악의 상당수는 기존음악을 변용하여 새로운 음악 만들기를 통해 그 수를 확대해 온 음악적 전통정신에 기반을 둔 음악이었다. 이러한 창조적 음악변용은 변통과 변화를 음악미의 하나로 기꺼이 받아들인 우리의 전통적 음악관이 있었기 때문에 가능했다. 미래의 보다 바람직한 초․중등학교의 창조적 우리음악 교육을 위해서는 전통음악에서 살아 숨 쉰 창조적 음악변용 세계에 대한 인식적 태도의 깊은 성찰과 반추가 필요하다. 이 창조적 음악 변용의 세계가 오늘의 우리에게 던져주는 의미와 가치는 바로 평가되고, 교육을 통해서 후대로 지속 및 계승되어야 한다. 아울러 우리음악을 가르침과 배움은 대단한 의미와 가치, 그리고 교육적인 재미를 지닌 일의 하나가 되어야 한다. 초․중등학교의 우리음악 교육은 밝은 미래와 발전을 창출하는 교육적 재미를 지향해야 한다. 역사적 사실에서 확인된 전통에 바탕 한 우리의 창조적 음악변용에 대한 바른 인식과 태도는 창조적 우리음악 교육에 작지 않게 도움을 주리라고 본다. 바람직한 우리음악 교육의 길은 결코 쉽지 않고 앞으로 더 어려워질지도 모른다. 그러나 이러한 어려움은 극복과 승화의 대상이어야지 회피와 두려움의 대상이 되어서는 곤란하다. 우리음악 교육이 처한 어려움에 효과적인 응전이 따른다면 분명 바람직한 극복을 통한 승화의 결과가 창출되리라고 본다. 초․중등학교의 우리음악 교육에서 이러한 극복과 승화의 창출을 위한 작은 계기의 하나가 될 수 있는 사안인 우리음악의 전통 속에 담겨져 이어왔던 창조적 변용 정신세계를 가르치는 이들이 가슴 속 인식의 틀 안에 담아 볼 필요가 있다.

惠山泥人动漫IP产业化可行性研究

张志华 상명대학교 한중문화정보연구소 2022 中國地域文化硏究 Vol.16 No.-

As a relatively representative traditional folk art in China, Huishan clay people has a high popularity and influence in China and even in the world.Huishan clay people have a historical inheritance of more than 400 years, and their unique modeling and decorative patterns have a high artistic research value.However, with the continuous progress and development of the society, people's needs and aesthetic appreciation have also changed under the influence of western culture. As a traditional folk art product, Huishan clay people are facing the problem of and inheritance under the collision of the new social economy.The current situation of Huishan clay people industry is the loss of fine clay people; large and small workshops lead to different advantages and disadvantages, disrupt the market; blind combination with tourism products for the development of clay people; lack of talents and lack of effective operation greatly restrict the development and inheritance of Huishan clay people.The industrialization development of animation IP has attracted great attention in today's environment, and the industrialization development of animation IP has brought feasibility to the development and inheritance of Huishan clay people.The industrialization of Huishan clay man animation IP meets the standards of modern cultural industry, that is, it has the role of ideological dissemination and the ability to pursue economic value. At the same time, it is easier to meet the spiritual and cultural needs of people in modern society, and finally achieve the purpose of the inheritance and development of traditional folk art. 惠山泥人作为中国较有代表性的传统民间美术,在中国甚至国际上都有着较高的知名度和影响力。惠山泥人有着四百多年的历史传承,其特有的造型和装饰纹样有着较高的艺术研究价值。但是随着社会的不断进步和发展,人们的需求和审美也在西方文化的影响下发生着变化。惠山泥人作为传统民间美术品,在新社会经济的碰撞下,面临着发展和传承的问题。当今惠山泥人的产业现状是精品泥人的流失,大小作坊的鱼龙混杂导致泥人产品优劣不一,盲目的与旅游产品结合为泥人的传承发展埋下隐患,人才不足和缺乏有效经营等都大大制约了惠山泥人的发展和传承。动漫IP的产业化发展在现今大环境下备受重视,惠山泥人动漫IP产业化发展为惠山泥人的发展和传承带来可行性。惠山泥人动漫IP产业化是符合现代文化产业标准的,既具有意识形态传播的作用,又具有追求经济价值的能力,同时也更容易满足现代社会人们的精神文化需求,最终达到对传统民间美术传承发展的目的。

한·중 무형문화유산 보호정책 비교연구

장미나 한국무용예술학회 2008 무용예술학연구 Vol.23 No.-

A Comparative Study on Protection Policies for Intangible Cultural Heritages between Korea and China Zhang Mei Na Sungkyunkwan University A fact that culture comes to exert the most important influence in the international society for the cultural century is not new. In particular, It? safe to say that the interest in the intangible cultural heritage is the recently international flow. And, the interest of non-Western countries in the intangible cultural heritage is higher than the Western countries. This study carried out the research on protection policies for intangible cultural heritages of Korea and China, which is multiracial. Korea? protection policy for intangible cultural properties was arranged the legal and institutional foundation as「Cultural Properties Protection Act」had been enacted in 1962. Thus, the protection for intangible cultural properties has been carried out in the national dimension, and now became the advanced level enough for the international society to pay attention. On the other hand, from having joined in ?onvention for the Safeguarding of the Intangible Cultural Heritage?in UNESCO in 2004, China accelerated the protection for the intangible cultural heritage by substituting the intangible cultural heritage for the name of the racial-private culture, which had been included in the existing culture protection law. Korea and China are the countries that are involved in the same Orient, but have mutually different protection background and real situation for intangible cultural heritages. Thus, through this research, it aimed to seek for the better protection policies for the intangible cultural heritages in two countries hereafter by analyzing the protection policies for the intangible cultural heritages in two countries and by grasping the characteristics of the protection policies for the intangible cultural heritages in two countries. This study analyzed the protection policy for the intangible cultural heritages in two countries after examining the present status of protection for the intangible cultural heritages in two countries, which are now being protected in the national dimension, based on the background and formation process of protection for the intangible cultural heritages in Korea and China. The protection policy for the intangible cultural heritage needs to be the one that aims to observe and keep, and to check the spirit of effective preservation and transmission. That is because the protection policy for the intangible cultural heritage should be the base manure as the policy, which can form the excellent spiritual culture in high-dimensional society. The 21st century is the one of culture. Amid globalization in which the restriction to time and space gradually disappears, each country is experiencing the culture war, with already having surpassed the culture competition. It is the so-called era of culture hegemony. In the midst of this flow, it tried to have the opportunity that inspects the protection policies for the intangible cultural heritages in both Korea and China, which show difference while having a close relationship geographically and historically. Especially in light of the reality that this research is not performed much, the more follow-up studies need to perform the deeper comparative analysis. And, this is thought to be capable of contributing not only to the development in own country? culture, but also to the development in world culture by offering new imagination to the global people.

중국 강서성(江西省) 남창(南昌)지역의 공공 벤치 디자인 연구

기비,김건수 한국가구학회 2021 한국가구학회지 Vol.32 No.2

The city’s public furniture contains people's desire for a beautiful life. Public benches are an important component of the city’s public furniture and provide people with practical functions for relaxation, as well as aesthetic design and cultural inheritance. Therefore, based on analysis of the functions, materials, and shapes of public facilities, the text combines the examples of foreign public benches with the practicality, aesthetics and culture of existing public benches in Nanchang, Jiangxi Province, China. “Utapacho”, a public bench in the Great Highlands of Namchang City. By supporting the theory of design and referring to several examples, the bench was inspired by the rain-soaked pacho leaves, a natural landscape of the park that the Chinese people loved. Rain-soaked pacho leaves are considered a very beautiful landscape for ancient Chinese people, and have often appeared in ancient Chinese literature, music, and painting, used to express joy, activity, passion, and optimism. In this traditional culture, sculpture elements were found and systematically designed using supporting design programs such as 3D MAX, CAD, and Photoshop, and 3D printing was also used to help create objects. Based on practicality, it was designed in consideration of aesthetic and cultural characteristics, and presented cultural contents of Namchang City, promoting harmonious unification between people, things and the environment.

중국 조선족의 혼례문화연구

리화(Li, Hua) 건국대학교 인문학연구원 2016 통일인문학 Vol.68 No.-

이 글의 목적은 조선족의 현행 혼인의례에서 나타나는 전통의 지속과 변용 및 재창조를 살펴보는데 있다. 이를 위해 조선족의 혼례를 약혼, 예식장 결혼식, 후례의 3단계로 나누고 각 단계의 구체적 절차와 내용 그리고 의례 전반에 내포되어 있는 의미체계의 분석에 중심을 두었다. 1980년대 말, 예식장의 등장과 함께 조선족의 혼례 역시 가족이 전부 준비하고 진행을 주도하던 가가례의 특성에서 벗어나 현대적 웨딩업체와 음식업체를 선두로 한 상업화에 상당 부분 좌우지되는 의례로 탈바꿈하게 된다. 그 과정에서 기존의 절차가 생략되거나 새롭게 추가 또는 통합되고 한국식 혼례문화와 한족문화의 요소들이 적절하게 부가되는 등 많은 변용을 보이고 있다. 이러한 의례의 변용과 재구성은 도시화, 산업화에 따른 사회 · 경제적 조건의 변화 및 그에 따른 사람들의 가치관의 변화를 말해준다. 그러나 다른 한편으로 의례가 내포하고 있는 문화적 의미와 상징성은 나름대로 이어지고 있으며 시대의 발전에 맞는 새로운 전통의 재창조 또한 활발하게 이루어지고 있다. 동시에 의례전문업의 자체성장에 따라 전통문화의 전승을 위한 사명감과 책임감이 부단히 강화되고 있으며 정부의 여러 가지 정책적인 지지에 힘입은 노력들도 적지 않게 이루어지고 있다. 그런 의미에서 민족정체성은 전통을 이어갈 수 있는 또 하나의 원동력으로 되어왔을 것이라고 생각 된다. The article aims to investigatethe preservation and the change of tradition, as well as the recreation of Korean-Chinese current wedding ritual.To this end, the Korean-Chinese wedding ritualis divided into the three stages:the engagement ceremony, the weddingceremony and the post celebration. This study focused on the analysis of the procedure, details and the meaning implied in the whole wedding ritual at each of the three stages. In the late 1980s, with the appearance of wedding hall, Korean-Chinese wedding changed the characteristics of the family ritual and became mainly affected by the modern wedding industry and catering industry.In this process, many changes have happened to the traditional wedding procedure, such as the omission of some practices, the addition of something new, or integration of some parts. And some western wedding culture and Han-Chinese culture are also appropriately added to the Korean-Chinese wedding. These changes and reconstruction of wedding ritual indicate the transformation of social and economic conditions, as well as the changes in people’s values under the urbanization and industrialization.However, the cultural meaning and symbolic meaning ofthe weddingritualare still continuing, which indicates that the traditional culture is being adapted to the development of the times.At the same time, with the professional development of ritual business, the senses of mission and responsibility to the heritage of traditional culturecontinue to be enhanced, and the government is also trying to provide support through avariety of policies. In this sense, the national identity is considered as another driving for cetoin her it tradition.

A Comparative Study of National Intangible Cultural Heritage between China and the ROK based on Traditional Dance Items

Zhiting Zhang KOREA INSTITUTE FOR HUMANITIES AND SOCIAL SCIENCES 2023 Journal of Arts and Cultural Studies(ACS) Vol.2 No.2

Background: There is a long history of the safeguarding of cultural heritage in East Asian countries. Since the 20th century, a growing number of countries have begun to highlight the safeguarding and inheritance of intangible cultural heritage, among which China and the Republic of Korea (ROK), the two East Asian countries, have also actively participated in it. Objective: This paper compares and discusses measures taken by China and the ROK in the safeguarding of intangible cultural heritage by analyzing relevant content of the intangible cultural heritage safeguarding and inheritance system between the two countries in its attempt to put forward reasonable suggestions for the safeguarding and inheritance of China’s intangible culture heritages in the future while drawing lessons from relatively complete safeguarding and inheritance measures of the ROK and taking the national conditions of China into consideration. Methods: This paper sums up relevant measures taken by China and ROK in the protection of intangible cultural heritage through literature review and draws further a conclusion from comparative analysis. Results: The ROK, also as an Asian country, has established a systematic management scheme for the safeguarding and inheritance of intangible cultural heritage earlier than its neighbor China in the region. Despite a late start, China has also established a relatively complete scheme of systematic safeguarding and inheritance of intangible cultural heritage in a short period of time. The sound practices of safeguarding intangible cultural heritage in the ROK can shed some light on China. Conclusions: China can draw on related measures of the ROK for the safeguarding and inheritance of intangible cultural heritage in the future. Constructive suggestions can be proposed from the aspects of strengthening school education communication, enhancing financial support, promoting on-stage presentation, improving the standardization of festivals or celebrations, and adding more museums for inheritance and education.

온돌 무형유산 문화유전자

이창식 세명대학교 지역문화연구소 2016 지역문화연구 Vol.15 No.1

이 논문은 한국 온돌의 인류무형유산 등재 가능성을 논의하였다. 이 방면의 향후 인식과정과 이 연장선에서 온돌의 가치를 몇 가지 국면으로 제기해 보았다. 온돌자원의 등재화, 이를 위한 실제 세계화로 피칭 워크숍마케팅이 그것이다. 온돌자료의 진정성 검증과 민속학적 해석, 관련 단체와 연구소의 선택과 집중, 문화권역을 넘어 소통할 수 있는 공유 전략 등이 동시다발로 지속되어야 한다고 보았다. 문화재청에서 전주에 무형유산원을 설립하였다. 각 지역마다 있는 유형문화재연구소(원)에 비해 늦은 감과 빈약한 것도 사실이다. 다만 이제라도 정형화될 수 없는 무형과 전통지식들이 중요시되었던 사실이다. 무형자원의 영역별 희소성과 관련 장소성, 수월성에 대해 확장하여 주목하게 되었다. 온돌문화재 관리화, 온돌문화권 가치화, 온돌온기의 창조화 등 일련의 과정도 적극적으로 추진할 수 있는 당위성을 확보하였다. 오늘날 우리가 직면하고 있는 많은 문제들은 결코 과거와 무관할 수 없다. 멀리 가버린 과거는 현대인에게 현재를 제공해 주었고, 또한 미래를 가늠할 수 있는 슬기로운 지식과 지혜의 보고인 셈이다. 온돌유산에는 오래된 미래지혜로 자연친화적인 삶이 내재되어 있다. 온돌을 한국인의 전통지식 영역에서 통합적으로 살펴야 할 시기라고 보았다. 온돌문화유산의 무형유산 등재 가능성은 크다. 다만 등재는 기초적인 연구와 민속지적 고민의 과정이 없이 서둘러 가서는 안 된다. 한국 온돌은 전통지식으로서 지역이나 환경적 특수성이 반영되고 인간의 삶이 중심이 된다. 이 때 정신적이고 실용적인 요소가 역동적으로 작용한다는 점도 특징이다. 전통을 토대로 한 지식체계, 창조물, 기술, 감성적 지혜 그리고 문화적 표현물을 통틀어서 전통지식-이러한 인식범주에서 구들 조사와 복원 노력-이라고 하는데, 여기에서 중요한 것은 전승성과 함께 변화하는 환경에 부단히 진화한다는 특성이 있다. 온돌은 전통지식 영역에 부합하고 있으나 민속학 시각에서의 전승성과 미래성에 대한 깊은 논의가 부족하다. 온돌민속지 만들기, 온돌전승마을 지정, 왕토잽이 보유자 인정 등이 시급하다. 이 점이 세계지식재산권기구가 현재 가장 중심하는 전통지식자원인지 성찰해야 한다. This study aims to discuss the possibility whether the ondol inheritance can be registered at Worldwide Intangible Cultural Heritage. The value of ondul is also suggested in some ways with the process of future recognition in this area and with the extension of that process. It is the pitching workshop marketing that enables ondol resources to be registered and also to be really globalized. It is thought that it should be lasted in multiple and spontaneous ways to verify the ondol resources to be true, to interpret them based on folklore, to select and focus on related institutions and research institutes for them and to share common strategy which can be communicated even beyond their cultural zones. National Intangible Heritage Center was established at Jeonju by Cultural Heritage Administration. It is true that that was done a little late and poorly comparing to other research institutes of tangible cultural properties which have already existed individually in every area. But, what is meaningful is that the intangible and traditional knowledge about ondol which can’t be standardized were regarded to be very important. And scarcity per area and related places of such intangible resources were expanded and focused. By the series of processes including management of the cultural heritage of ondol, valuation of cultural zones of ondon, creation of warmth by ondol, etc., appropriateness was achieved and could be carried in an active way. Many problems that we are facing today can’t be unrelated to the past at all. The past which has gone far away provides us, the modern people, with the present and at the same time it will be a repository of wise knowledge which can watch the future. In ondon heritage, our natural friendly life is embedded with its old but future-oriented wisdom. Therefore, it is thought that it is the right time to examine ondol integrally at the area of our Koreans’ traditional knowledge. Ondonl cultural heritage has a great possibility to be registered. But registration shouldn’t be hurried without fundamental study and without the process of anguish over its folkloric area. At ondol, environmental characteristics are reflected as traditional knowledge and it has been a center of our human life. It also has another characteristic, which is mental and practical elements aree worked very actively at that time. It is said that knowledge system, creations, technology and cultural expressions, which are based on tradition, are told traditional knowledge in total research about gudeul and effort - to restore them - in this kind of recognition category. What is characteristic is that they are constantly evolved with the environment together with their traditionalization. Ondol is corresponded at traditional knowledge area - in Chapter 2, discussion about the theory of value on knowledge - but, as it is mentioned above, discussions about its tradition and future - in Chapter 3 - discussion of complement to registration - are not so deep. It is urgent to construct the ondol folk zones, to appoint the traditional village with ondol, to admit the holder for royal domain, etc. Now, it is the time to examine World Intellectual Property Organization (WIPO) is the hottest potato.

남해안 별신굿의 전승 양상과 지화(紙花) 및 종이 오브제

서주희(Seo, Ju-Hee) 동서미술문화학회 2020 미술문화연구 Vol.17 No.17

이 글은 국가무형문화재인 남해안 별신굿의 전승 양상과 굿판에서 무당이 제반 의례에 사용하는 도구인 지화(紙花) 및 한지 오브제(objet)를 살펴보는 것이 목적이다. 오늘날 국가무형문화재에서 가장 중요한 전승 축이 ‘기능’과 ‘예능’이다. 굿에서의 기능은 각종 소도구 제작을 의미한다. 소도구에는 가장 기본적인 것이 종이를 이용한 여러 오브제(objet)들이다. 지화(紙花), 지(紙)탈 등이 그러한 것들이다. 남해안 별신굿은 잘 알려진 바와 같이 통영 및 거제 등 남해안의 마을에서 정기적으로 행해지는 공동체 문화가 담긴 축제로 세습무가(巫家)들이 주도하고 있다. 세습무 가운데 남해안 별신굿을 택한 이유는 서해안 대동굿, 배연신굿이나 동해안 별신굿은 이미 1970년대부터 연구가 활발하게 시작되어 학계에 일찍 알려졌던 것과 달리 남해안 별신굿은 1980년대에 들어서야 그 존재가 겨우 확인되고 1987년에 비로소 무형문화재로 지정받았다는 사실 때문이다. 그뿐만 아니라 지금 이 시대에 대한민국에서 가업을 잇는다는 것은 생각만큼 쉽지 않은 일이기에 12대째 세습무를 이어오고 있다는 사실에 주목할 필요가 있다. 1987년 7월1일 국가무형문화재 제82-4호로 지정된 이후 혈연세습이 아닌 사람들도 남해안 별신굿보존회로 들어와 굿의 기・예능을 학습하고 함께 굿판에서 활동하고 있다. 이렇게 세습무계의 속성이 변하게 된 이유는 ‘사회 인식의 변화, 활동무대의 감소, 경제적 이유, 사명감의 차이’ 등에서 비롯되었다고 생각된다. 본 논문은 기존의 연구자료에는 언급되지 않은 남해안 별신굿전승자들의 계보도와 현재 남해안 별신굿을 계승하고 있는 보유자와 전승자로부터 확인된 사실과 근거를 토대로 남해안 별신굿의 전승 양상을 살펴보았다. 그리고 이를 통해 남해안 별신굿과 그 안에 담긴 공동체 문화 그리고 전통공예미술인 지화(紙花) 및 종이오브제에 관한 내용도 함께 고찰하였다. The purpose of this study is to examine the condition of the tradition group and family line of Southern Coast Byeolsin-Kwut a national intangible cultural property and a Paper flower Objet and Paper Objet an equipment used by shamans for rituals at Kwut. The most important transmission axes in national intangible cultural properties are function and entertainment. The function in the Kwut means making various props. The most basic of props are various objets using paper. Paper masks and Paper f lowers are such things. Southern Coast Byeolsin Kwut (SCBK) refers to the traditional shamanic rituals held to honor village tutelaries by hereditary shamans along the southern coastal villages on the Korean Peninsula, Tongyeong and Geoje. These communal festive rituals are hosted by shamans whose social status passes down through family bloodlines Unlike other similar communal shamanic groups The western coast Daedong-Kwut and the western coast Baeyeonsin-Kwut and the eastern coast Byeolsin-Kwut extensively studied in the 1970s. It was only in the 1980s that the tradition of the Southern Coast Byeolsin-Kwut was identified. SCBK was designated by the Korean government as a National Intangible Cultural Heritage in 1987. It is noteworthy that the hereditary shamans hosting traditional social events in this area have been Kept through 12 generations, when we consider the difficulties in keeping old family traditions in Korea. The designation Kwut as National Intangible Cultural Heritage No. 82-4 on July 1, 1987 led to the establishment of the Southern Coast Byeolsin-Kwut Preservation Society and the participation of ordinary citizens in the performance of the rituals. The recent development in the tradition of hereditary shamans could be attributed to the changes in public awareness of the tradition, the decrease in the opportunity for performances, and has changed economic situations, and has brought about differences in the sense of duty. The main discussions in this study includes the genealogy of Southern Coast Kwut. hosts which is not mentioned in the data so far discussed and the holders of the heritage officially acknowledged by the Korean government, and people who has finished Southern Coast Byeolsin-Kwut thus providing comprehensive understanding of the tradition based on facts proven through the research on heritage holders. This study are expected to contribute to the reinterpretation of the heritage of Kwut and the production of traditional craft art, Paper flower and Paper objet.