한국 인상주의 회화의 탈민족주의적 모더니티

강혜승(Kang Hea-seung) 한국근현대미술사학회 2016 한국근현대미술사학 Vol.32 No.-

This thesis sheds new light on the art historical significance of Korean impressionism paintings in 1930s. At that time, it was assumed that impressionism in Korea was the proper way to depict Korean nature and that these paintings were embodiments of nationalist consciousness. This study, however, tries to focus on the modernity of Korean impressionism paintings, which had been covered by the nationalist ideology in the 1930s. Considering the characteristics of the modern city where visual power was dominant, It’s quite a surprise, but the modern city in Korea art history in a while has been overlooked in some aspects. It was because the Western painting in Korea were in full bloom at the duplicity of the modernization and the colonial contradiction. Modern changes in the Korean art world proceeded under the rule of imperialism. In particular, the influx of Western painting through Japan meant that there was no way but Impressionism. This background was the factor that continued impressionism which became the starting point of Korean Western painting in relation with nationalism. Impressionist works of the Japanese colonial period, for example, were mainly dealt with in terms of associating with nationalism. Especially, since the main genre of Impressionism was landscape painting, it has emphasized the local color of works depicting Korean nature and indigenous scenes. The task of internalizing Western paintings through Japan was developed within the goal of national art called ‘Korean Impressionism’. The pursuit of Korean identity has led to a tendency to ignore the urban identity with the focus of Korean Impressionist paintings’ orientation. However, Impressionism painting was a new art that was rooted in the soil of a big city, and Impressionism was developed in the background of the city phenomenon in Korea. From the post-nationalistic point of view, our painters responded to urban change with “an extremely nervous nerve.” Through the works of Lee In-sung, Kim Yong-jo, Oh Chi-ho and Kim Chu-Kyeung that explored impressionism in the painters of the 1930s, we can examine the aspects of modern Impressionism painting. They were outstanding in the Chosun Art Exhibition in the 1930s and observed and portrayed the transition process of modern history in their own tastes. They responded sensitively to the urban landscape in the process of modernization. The various aspects of modernity that they depicted, such as space and leisure culture, are the representations of urban life. Although the image of the city is scattered in the Korean Impressionist painting, it is hard to deny that the urbanity expressed in the work has been ignored in the process of describing modern art. Especially, modernity representation in the colonial situation was criticized from the viewpoint of nationalism. It will be discussed through the works that the local color was aimed at one way denying the urbanity of the Japanese colonial period. Despite the critical view of the city, urbanization in Korea of the time was a real reality and the city streets were a source of material and senses for colonial painters as well. Looking at the values experienced in the process of modernization in Korean Impressionist painting, it is possible to face up to everyday-ness first. As it was expressed in various works, the driving force of modernization became an important factor in forming the subjectivity of contemporary people. At this point, the individual subject can be found as the second meaning of the Korean Impressionism. In the impressionist paintings that cast away the nationalistic viewpoint, we can find a modernity captured by an impressionist view which has been concealed by historical consciousness and its meaning has been reduced. In Korean impressionist paintings, we can see the experiences of modernity that painters had experienced in person. In addition, we can confirm that our writers expressed the colonial people’s

1970년대 이건용의 행위예술과 몸의 복권

강혜승 ( Hea-seung Kang ) 한국미학예술학회 2020 美學·藝術學硏究 Vol.59 No.-

이성주의 인식론의 전통 아래 현존적 삶을 사는 몸은 억압되고 부정돼 왔다. 육욕(肉慾)으로 치부되던 몸이 억압의 굴레에서 벗어난 건 실존의 위기에서 비롯 됐다. 그 첫 표명으로 1960년대 구타이(具體)와 플럭서스(Fluxus)는 과거 예술과의 작별을 고하며 몸에 대한 인식의 변화를 드러냈다. 이제 몸을 사용하는 예술은 이성중심적인 데카르트의 언명에서 빠져나왔다. 한국에서도 예술가의 몸은 사회적 맥락 속에서 등장했다. 한국현대미술에서 예술가의 몸이 처음 부각된 것은 1967년 겨울에 열린 ≪청년작가연립전≫에서였다. 한국의 1960년대 후반은 경제적으로 산업기반을 강화하는 가운데 이데올로기를 앞세우면서 정치적 개인을 억압하는 시대였다. 작가의 몸이 처음 매체로 사용된 이후 몸에 대한 표명은 1970년대 이건용에 이르러서 본격화됐다. 이건용은 조국근대화 기치 아래 정치적 억압이 엄혹했던 당시 강박적이고 행위적인 형태로 자신의 몸을 표명했고, 작업의 도구로 사용했다. 이건용의 몸은 행위 주체이자 대상으로서 기존의 이분법적 경계를 허물었을 뿐만 아니라 사회적 차원의 예술적 산출물을 실행했다. 하지만 이건용에 대한 기존 선행연구는 몸이 아닌 정신적 차원의 사유행위로 이건용의 작업을 주목해 왔다. 이에 본 연구에서는 1970년대 이건용의 행위예술을 몸-주체 관점에서 작가 신체에 주목해 다시읽기를 시도한다. 구체적으로 이건용의 행위예술을 논리를 강조한 이벤트와 신체 행위를 통해 평면에 몸의 현존성을 부각시킨 드로잉 작업으로 나누어, 사회적 은유로서의 신체 미학을 살펴본다. In Korea, the body of the artist emerged in a social context in the late 1960s. It was an era when individuals were politically oppressed while the industrial base was economically strengthened. In the 1970s, Lee Gun-yong embodied the expression of the body, which he expressed in a compulsive and behavioral form and used as a tool for his work. Lee's body not only broke down the existing dichotomous boundaries between the actor and the object of action, but also produced an artistic metaphor on a social level. However, previous research on Lee has focused on his work as an act of thinking rather than a body. In this regard, this study attempts to reread Lees performance art in the 1970s, focusing on the artist's body. Specifically, this study examines physical aesthetics as a social metaphor by dividing Lee's performing art into drawing works made through physical actions and events that emphasized logic.

여자한복 변화에 따른 현대 수의디자인 개발-여자 수의 저고리, 치마, 속옷 연구를 중심으로-

이춘희 ( Choon Hee Lee ),강혜승 ( Hea Seung Kang ) 한국기초조형학회 2013 기초조형학연구 Vol.14 No.6

한복은 한반도의 역사와 문화, 민족성, 한 민족 고유의 얼이 담긴 전통 의복이다. 한복은 평면적인 재단으로 구성되었고, 저고리에는 섶, 깃, 고름을 달고, 치마에는 주름을 잡고, 속옷을 받쳐 입음으로 입체적인 옷이 된다. 이러한 한복에 기초하여 전통적인 수의가 만들어 졌다. 현대인들은 수의를 선택할 때 전통적인 옛것을 고수하고, 수의 재질도 삼베를 선호 한다. 그러나 국내에서 재배되는 삼베는 드물고 고가이며, 제작되어 판매되고 있는 수의도 전통 수의형태가 변형된 실정이다. 대부분 사람들이 이러한 수의를 선택하는 이유는 수의 디자인의 개발의 부족과 수의에 대한 바른 인식의 부재에 있음으로, 연구자는 여자 옷을 중심으로 한복의 변화에 따른 수의 디자인 개발을 주제로 연구 목적을 설정했다. 첫째, 조선시대부터 현대까지 여자 한복의 변화를 분석하여 현대 한복의 착용이 간소화 된 것과 같이 수의 품목을 간소화하는 것이다. 둘째, 생활한복 디자인을 분석하여 기존 수의보다 제작 방법이 용이하고 입히기 쉬운 수의디자인을 개발하고 실제 완성된 수의 작품을 제시하는 것이다. 수의는 염과 습에 사용되는 물품을 포함하나 본 연구는 저고리와 치마, 속옷으로 한정시켜 디자인을 개발하였다. 수의 재질은 거친 삼베가 아닌 구하기 쉬운 천연소재의 원단을 사용하였고, 여자 현대수의를 상의, 하의, 속옷으로 구분하여 개발하였으며, 작게는 25벌에서 많게는 100벌까지 착장을 제안하여, 현대 수의가 장례의식에서 고인을 보다 편안하고, 고인의 모습이 가족들에게 아름답게 기억될 수 있도록 다양하고 체계적인 디자인을 제안하였다. 향후 연구의 과제는 본 연구에서 검토하지 못한 여자수의겉옷 디자인의 개발이다. 소재, 색상 등 보다 현실적인 패턴으로 다양화한 디자인의 후속 연구를 기대한다. Korean traditional dress, Han-Bok, contains history of Korea along with national characteristics and soul of Korean people. The composition of Han-Bok is two-dimensional with its straight cuts but as a gusset and a collar are added to Jeogori (the upper garment of Korean traditional dress) and by wearing underclothes to plaited skirt, Han-Bok becomes three-dimensional. Based on these characteristics of Han-Bok, traditional shrouds are made. Nowadays, when people are choosing shrouds, they try to maintain traditional shrouds and they prefer hemp cloth for shrouds. However, hemp cloths are rare and expensive, and the shrouds that are manufactured and sold are modified from the traditional designs. The reason most of the people choose those shrouds is in lack of effort to disseminate shroud designs and lack of correct understanding of shrouds. Therefore, researcher set the purpose of the study to develop shroud designs that is appropriate and that suits for modern days. First, by analyzing the changes of the design of women`s Han-Bok from Joseon Dynasty to modern days, simplify the items of shrouds as reformed Han-Bok were simplified. Second, by analyzing designs of reformed Han-Bok, develop simple shroud designs and actually present complete form of those shrouds. Shrouds include all the items that are needed for cleaning and shrouding corpses, but this study puts its boundaries to Jeogori, skirt, and underskirt in development the shroud designs. This study suggests that instead of using hemp cloth, which is ruff to wear, use cloths that are made of natural materials, simplify the items for shrouds so it would be easier to make and wear the shrouds. This study develops women`s modern shrouds by developing Jeogori`s, skirts, underskirts, and underpants separately, which makes 25 to 100 possible designs of shrouds. In suggesting various and systematic modern shroud designs, the ones who are departed would be comfortable and beautifully remembered by their families

현대 여자수의 겉옷 디자인 개발 제안

이춘희 ( Choon Hee Lee ),강혜승 ( Hea Seung Kang ) 한국기초조형학회 2015 기초조형학연구 Vol.16 No.5

한국의 장례문화는 유교사상의 효를 중시하고, 내세사상이 내포되어 있다. 죽음을 새로운 시작으로 보는 견해도 있어, 고인과의 이별은 수의를 최상의 제품으로 장만하여 입혀 드리는 것을 마지막으로 고인에 대한 가족들의 정성이라고 생각한다. 부모 또는 형제나 자매, 자녀의 죽음을 맞이할 때 획일화된 수의가 형태가 아닌 다양한 디자인과 다양한 소재의 선택이 가능한 현대 여자수의가 선행 연구 되었다. 현재는 수의 겉옷으로 원삼이 입혀지는 것을 관행적으로 생각되고 있으나현대수의에 적합한 수의 겉옷의 차별화된 개발은 아직 미비하다. 이에 본 연구에서는 선행 연구된 현대 여자수의의 겉옷을 디자인Ⅰ에서 디자인Ⅳ까지 4 개의 디자인을 개발하여 도식화, 소재와 색상, 제도 치수를 제시하는 것을 목표로 한다. 현대 여자수의 겉옷의 디자인을 개발하기 위하여 조선시대부터 현재까지 여자수의 겉옷의 종류를 문헌과, 출토복식을 통하여 이론을 고찰하고, 현행 여자 수의 겉옷에 대한 현황을 인터넷 사이트와 대형 장례식장의 영안실을 조사하여 겉옷의종류와 형태, 색상과 소재를 비교하여 분석한다. 현대수의 겉옷의 소재를 다양화 하고, 폭이 넓은 원단을 사용하여 재단과재봉의 시간을 최소화 시키고, 색상을 다양하게 선택하여 기존의 수의 겉옷의 색상과 차별화 한다. 고인의 마지막 모습이아름답게 간직 될 수 있고, 현대 장묘 문화에 적합한 현대적인 디자인을 표현함으로써, 수의 선택의 폭이 넓어 질수 있도록 현대수의 겉옷 디자인을 제안 한다. The funeral culture of Korea puts importance in filial duty of Confucianism and contains the concept of afterlife. It also sees the death as another new start which makes it reasonable to think that family of the dead who are preparing the best quality of the shrouds for the dead is an act of paying the respect. Preceding research was conducted on the various designs and materials of the modern shrouds to choose from for the death of the parents, siblings, sons and daughters, which was different from traditional shrouds that all look the same. Nowadays it is believed that wearing Ceremonial Robe as the outer for the shroud is considered as a practice but the distinct development for the outer of the modern shroud is incomplete. As a result, this research aims to suggest schematizing, variety of materials and colors, measuring the size by developing the design for the 4 shrouds from Design I to Design IV from the preceding research. In order to develop the designs, literature reviews from the Joseon Dynasty period to present and theory consideration through excavated costume are used. Through Internet researches, various designs, forms, colors, and materials for present women`s shroud outer are compared and analyzed. It diversifies the materials for the modern shroud, and by using wide fabrics, the amount of time for cutting and sewing the shroud outer is minimized, and the choice of the colors is diversified, which distinguishes itself from the traditional shrouds. I suggest that the design of the outer for modern shroud in order to make it possible for the appearance of the dead can be maintained beautiful, and to express the modern design that is appropriate to fit the modern funeral culture and to give large variety of choice of the shrouds to choose from.