1950년대 북한과 동유럽의 미술 교류와 정현웅

김승익 미술사학연구회 2018 美術史學報 Vol.- No.51

The aim of this study is to examine art exchange between North Korea and Eastern Europe in the 1950s and, in this context, the work of artist Jung Hyunwoong, an artist who defected to North Korea during the Korean War. From the time of the Korean War, North Korea began actively engaging in artistic exchange with Hungary and other newly-established socialist states in Eastern Europe. Eastern European artists took socialist-realist depictions of North Korea’s wartime suffering as their main subject, while North Korea was active in organizing overseas exhibitions to promote the image of “[North] Korea fighting” on behalf of the socialist bloc. “For the Freedom of Korea,” an exhibition held in Hungary in 1953, was North Korea’s first large overseas exhibition. Attracting much attention, it became an important starting point for increased artistic exchange between North Korean and the rest of the world. Jung Hyunwoong’s production of copies of Goguryeo tomb murals provided an impetus for spreading North Korean traditional art overseas. These works were first exhibited in Hungary in 1956; from then on, Goguryeo tomb murals were presented in overseas exhibitions as the origin of North Korean art. Meanwhile, human and material exchange between North Korea and Eastern European states was expanded through a series of cultural agreements signed from 1955 onward. As part of these exchanges, North Korean traditional craft and cultural heritage items were donated to Eastern European museums, while Eastern European artists continuously visited North Korea and held exhibitions there. In the same way, Jung Hyunwoong and other North Korean artists made ongoing visits to and held large-scale exhibitions in Eastern Europe. The “Exhibition of [North] Korean Plastic Art,” held in Germany and then in Hungary in 1959, offered a large-scale and comprehensive overview of the achievements of North Korean art in the 1950s, illustrating the dynamism of the country’s arts scene in this decade. 이 논문은 1950년대 북한과 동유럽의 미술 교류 양상과 그 속에 월북 화가 정현웅의 활동을 살펴보는데 목적이 있다. 북한은 헝가리를 비롯한 신생 사회주의 동유럽 국가들과 6·25전쟁 기부터 활발한 미술교류를 시작했다. 동유럽 미술가들은 전쟁으로 고통 받는 북한의 모습을 사회주의 리얼리즘을 구현하는주요 소재로 삼았고, 북한은 사회주의 진영을 대신하여 “싸우는 조선”의 모습을 선전하기 위해 적극적으로 해외 전시를 추진하였다. 1953년 헝가리에서 개최된 《조선의 자유를 위하여》는 북한 첫 대규모 해외미술 전시로 큰 주목을 끌었고1, 950년대 북한 미술의 국제적 교류가 활발해지는 중요한 계기가 되었다. 정현웅의 고구려 고분벽화 모사도 제작은 북한의 전통 미술이 해외로 확산되는 계기를 만들어 주었다. 그의 고분벽화 모사도가 1956년 헝가리에서 처음으로 전시되었는데, 이후 북한 미술의 해외 전시에서 고분벽화는 북한 미술의 기원으로 지속적으로 소개되었다. 또한 1955년부터 체결된 일련의 문화협정으로 북한과 동유럽 국가들과의 인적, 물적 교류가 확대되었다. 문화 교류의 일환으로 북한의 전통 공예나 문화재들이 동유럽 박물관에 기증되었고, 동유럽 국가들의 화가들이 방문과 전시회가 이어졌다. 정현웅을 비롯한 북한 미술가들의 동유럽 방문과 북한 미술의 대규모 해외 전시도 지속되었다. 1959년 독일과 헝가리에서 연이어 개최된 《조선 조형예술전람회》는 1950년대 북한 미술의 성과를 집대성한 대규모 전시로 1950년대 북한 미술이 지닌 역동성을 보여준다.

고온 열처리를 이용한 Pt-Pd 합금 촉매 제조 및 VOCs 촉매 산화 제거 연구

김승익,이진희 한국공업화학회 2022 한국공업화학회 연구논문 초록집 Vol.2022 No.-

과학 교육에서 ICT 활용 방안 모색

김승익 한국교과서연구재단 2001 敎科書硏究 Vol.- No.37

국립중앙박물관의 서양미술 전시: 전개와 과제

김승익 한국미술이론학회 2020 한국미술이론학회 학술대회 Vol.2020 No.09

19세기 말~20세기 초 일본인의 한국 서화 수집 - 사노시향토박물관(佐野市鄕土博物館) 스나가문고(須永文庫)를 중심으로

김승익 한국근현대미술사학회(구 한국근대미술사학회) 2019 한국근현대미술사학 Vol.38 No.-

This article examines the Japanese collection of Korean calligraphy and painting from the late 19th to the early 20th century in Japan. Especially, the collection of the Sunaga Hjime(須永元,1868-1942) in Sano city museum is the primary subject to find out interchanges Korean artist and Japanese patronage. Sunaga collection was expended to one of the largest collection of Korean modern calligraphy and painting in Japan in relation with Korean exiles, Kim Okkyun(金玉均, 1851-1894), Park younghyo(朴泳孝, 1861-1939). Having lived in exile for about ten years, Kim Okkyun was supported by Sunga Hajim and gave his calligraphies in return of patronage. This relation formed the basis of the Sunaga collection. After sudden death of Kim Okkyun, however, interchanges with Korean artist in exile has expanded to Oh Sechang(吳世昌, 1864-1953), Hwang Cheol(黃鐵, 1864-1930), Ji Unyoung(池雲英, 1852-1935). The relation of these artist has lasted throughout the period of Japanese colonial rule. Sunaga collection is not limited to the exiles and covers from painters of late Joseon dynasty such as Kim Junghui(金正喜, 1786-1856), Shin Wi(申緯, 1769-1845), Jang Seungup(張承業, 1843-1897), Choi Seokhwan(崔奭煥, 1908-?), Yang Kihoon(楊基 薰, 1843-?) to Modern artists such as An Jungsik(安中植, 1861-1919), Cho Seokjin(趙錫 晋, 1853-1920), Kim Kyujin(金圭鎭, 1868-1933), Kim Unwon(金應元, 1855-1921), Yoon Yonggu(尹用求, 1853-1939), Seo Byungo(徐丙五, 1862-1935), Kim Donhui(金敦熙, 1871-1937) and Kim Yongjin(金容鎭, 1878-1968). In this regard, Sunaga collection became the priory historical sources to find out the unknown interchanges with Korean artist in exile and Japanese patronage.

지역문화 유산 이야기 : 지운영의 "장송낙일" 근대기 우리 서화가의 뒤안길

김승익 한국지방재정공제회 2014 지방재정 Vol.2014 No.6

중학생의 인지갈등집단과 비갈등집단의 과학 개념 형성

김승익,권난주,권재술 한국교원대학교 과학교육연구소 1998 청람과학교육연구논총 Vol.8 No.1

본 연구는 과학 개념을 형성하는데 인지갈등집단과 비갈등집단의 차이를 알아보는 것이다. 연구의 대상은 서울에 소재한 2개 중학교 1, 2학년 학생이었다. 연구 결과는 수업 도입 단계에서 비교적 어려운 상황에서 시작한 인지갈등집단이 비교적 쉬운 상황에서 시작한 비갈등집단보다 사후검사에서 더 나온 개념 형성 정도를 보여주었다. 이러한 결과가 특히 학업성적이 낮은 하위집단보다는 상위집단에서 더 두드러지게 나타났다. The purpose of this study is to compare the effect of concept acquisition between cognitive conflict and non-conflict groups. There have been some debates about whether cognitive conflict is an effective method for students to understand a new concept. Even though there is much support in favor of a cognitive conflict strategy in learning science, there have been some reports that an analogical method is effective in introducing a new concept without arousing cognitive conflict explicitly. In this study, we tried to find empirical evidence verifying or falsifying the two arguments. The results show that the cognitive conflict groups generally had better understanding of the target concepts in the immediate post-test, as well as the delayed post-test, periods. The effect appeared more dominant in the case of learning a new concept than in the case of reviewing a concept which had already been learned. Also, the effect appeared more dominant in students in high level than in those at a low level.

[가작] 파주아시아출판문화정보센터

김승익(Kim, Seung-Ik) 현대건축사 2000 월간 CONCEPT Vol.- No.20

Millau Viaduct의 계획과 시공

김승익(Seung Ik Kim),김현겸(Hyeon Kyeom Kim) 한국강구조학회 2004 韓國鋼構造學會誌 Vol.16 No.4

1910 ~ 1930년대 재한화가들의 조선미술전람회에 대한 논의

김승익(Kim Seung-ik) 한국근현대미술사학회 2014 한국근현대미술사학 Vol.27 No.-

This study attempts to examine the art critics of Japanese painters in colonial period of Korea. In the early 1910s to the 1930s, many Japanese artists wrote critics about art world in Korea and Joseon Art Exhibition(朝鮮美術展覽會) on the magazines published in Japanese. Most of these magazines were important documents indicating the self-identities and artistic consciousness of Japanese artists as a local painter. Focusing on, especially, the issue of Joseon Art Exhibition, the most important exhibition of that time, the criticism movement will be contemplated. The previous studies on Japanese artists in Korea mostly examined settlement in early modern Korea, development of group of japanese painters, the birth of Joseon Art Exhibition and other relationship with Korean painters. These studies are based on various written sources from the government magazine such as Choseon(朝鮮) and Kyongsong Daily Newspaper(京城日報) published by the Government-General of Joseon. However, these sources are difficult to strengthen comprehensive understanding of the japanese artists because the primary sources are limited to governmental journals and newspapers. While Choseon and Manchuria(朝鮮及滿洲), The Chosen Review(朝鮮公論) and other privately published Japanese magazines are critical materials that showed trend and awareness among Japanese artists in Korea at that time. In 1910s, the discussion on art presented in the magazine was written by various writers such as Japanese art collector, bureaucrats and so on. During this period, debate on traditional Joseon art itself were active rather than current issue of art in Korea. Until 1910s, antiquaries and also collector who led the debate poured scorn on aesthetic of Joseon art and asserted declinism of Joseon art mutually. Those critical understanding on traditional art influenced Japanese artists in Korea. Critics of Joseon Art Exhibition which focused on Japanese artists in Korea actively developed after 1920s. Criticism movement of Japanese artists in Korea which was prosperous with hosting exhibition can be read as trying to construct their identities between Japan and colonial Korea. Ichigi Murakami(村上一儀) was a leader initiating criticism of 1920s. Afterward, critics of Japanese artists in Korea concentrated on Joseon Art Exhibition until 1930s. Art critics of Japanese artists in colonial Korea showed process of continuous self-construction between artist and viewer, public and amateur, young and senior painter, local and central art world.