고화흠 미술 아카이브, ‘나의 백안(白岸)’ 연구

김허경 전남대학교 5.18연구소 2024 민주주의와 인권 Vol.24 No.1

고화흠은 일제강점기 동경녹음사화학교(東京綠陰社畵學校)에 입학하여 미술교육을 받고 서양화를 배웠으며 해방 직후부터 1990년대까지 수채화와 유화라는 장르를 넘나들며 구상에서 비구상, 추상으로의 변화 과정을 거쳐 자신만의 독자적인 회화세계를 구축한 작가이다. 초기(1940~1950년대)는 풍경, 정물, 인물 등 자연에 바탕을 둔 사실주의 화풍을 구사했으며 중기(1960년대)에 이르러 자신만의 화의(畫意)를 표현하기 위해 반추상으로 전환했으며 후기(1970년대~)는 <백안> 시리즈를 중심으로 대상과 정신의 합일, 심수상응(心手相應), 사의(寫意)를 통한 추상의 세계를 펼쳐냈다. 이 연구는 호남 서양화단의 초석을 다진 고화흠의 미술 아카이브를 통해 서정적인 추상의 세계, 즉 스스로 지칭한 한국미의 시어적 표현인 ‘나의 백안’을 분석한 것이다. 고화흠의 생애와 전시기록, ‘한국수채화협회’(1956), ‘창작미술협회’(1957)의 활동들은 ‘나의 백안’에 함축된 미학적 범주를 가늠할 수 있는 근거이기에 참여했던 전시와 단체활동에 나타난 작품의 경향을 살펴보았다. 고화흠이 직접 쓴 『현대회화의 연구-한국적인 작품제작』(1987)과 「백안기」(1989)를 중심으로 살펴보면 구상과 비구상을 거쳐 다다른 추상의 세계인 ‘백안’시리즈는 궁극의 시점을 펼쳐낸 사의의 표상이자 그의 미학적 신념이 구현된 심수상응의 경지임을 확인할 수 있다. 현재 고화흠에 관한 작가론, 미술비평이 부재한 상황에서 연구를 위해 수집한 문헌・작품 자료들은 ‘백안’의 세계가 어떻게 형성・구현되었는지 살펴볼 수 있을 뿐 아니라 호남 서양화단과 한국 현대미술의 흐름을 동시에 고찰하는 계기를 제공한다. Ko Hwa-heum, educated in art, particularly in Western painting, at the Ryokuinsha Painting School in Tokyo during the Japanese colonial period, crafted his own distinctive painting style. He traversed various genres, including watercolor and oil painting, evolving from figurative to non-figurative to abstract forms. This transformation occurred from the period after liberation until the 1990s, marking a series of significant changes in his artistic journey. During his early period (1940s and 1950s), Ko Hwa-heum's art was characterized by nature-based realism, focusing on landscape, still life, and portrait paintings. In the middle period (1960s), he transitioned to semiabstract painting as a means to express his own artistic vision. In the latter period (1970s onwards), he centered his work around the <White Hill> series, unfolding a world of abstraction through the harmonization of object and spirit (心身合一), the correspondence of mind and technique (心手相應), and the exploration of descriptive thought (寫意). This study delves into the realm of lyrical abstraction in which Ko Hwa-heum was immersed, encapsulated poetically as ‘my white hill’ in his depiction of Korean beauty. By analyzing the art archive of Ko Hwa-heum, the foundational figure of the Western Painter Group in the Honam region, this research aims to comprehend the essence of his artistic expression. To discern the overarching tendencies of his work, this paper examines Ko Hwa-heum's life history, exhibition records, and involvement in organizations such as the ‘Korea Watercolor Association’ (1956) and the ‘Creative Arts Association’ (1957). These aspects serve as the foundation for evaluating the aesthetic nuances implicit in ‘my white hill.’ Focusing on A Study on Contemporary Fine Art (1987) and On White Hill(1989), authored by Ko Hwa-heum himself, this study asserts that the <WhiteHill> series encapsulates his ultimate artistic vision, characterized by the correspondence between mind and technique (心手相應) and the exploration of descriptive thought (寫意). These works unfold a realm of abstraction achieved through both figurative and non-figurative elements. In the absence of existing artist theories or art criticisms on Ko Hwa-heum, the literature and materials gathered for this study not only illuminate the formation and realization of the <White Hill> world but also offer a means to concurrently explore the trends within the Honam Western Painter Group and Korean contemporary art.

이브 탕기 회화의 이미지와 상상력에 대한 미술비평: 바슐라르의 물질적 상상력을 중심으로

김허경 한국프랑스문화학회 2018 프랑스문화연구 Vol.37 No.1

Yves Tanguy, peintre fidèle au surréalisme, a fondé sa recherche esthétique sur la découverte des images cachées dans l’inconscient et sur leur déformation, jouant ainsi un rôle central dans la mise au premier plan de l’imagination. Après le premier Manifeste du surréalisme d’André Breton en 1924, il se joint au groupe surréaliste et il construit son propre univers pictural, à partir du matériau de ses expériences vécues et de son imagination libérée. Cependant, en comparaison d’autres peintres surréalistes, peu de recherches ont porté sur Tanguy en Corée. Les images sont le produit de l’esprit humain mais, dans les tableaux de l’artiste, leurs propriétés visuelles les rendent méconnaissables et le lien entre image et imagination n’apparaît pas. La présente étude porte ainsi sur la relation entre l’œuvre de Tanguy et la notion d’imagination matérielle de Gaston Bachelard, philosophe français qui a mis en valeur la créativité de l’imagination ; l’analyse se développe à partir de la question de la corrélation entre le surréalisme et l’inconscient, entre l’image et l’imagination, corrélation au fondement de l’univers artistique de Tanguy. Bachelard, à l’origine d’une ≪révolution copernicienne≫ dans l’étude sur l’image et l’imagination, souligne que l’imagination est la faculté de déformer les images fournies par la perception et que l’image est l’un des produits finaux de l’imagination. En particulier, en liant à l’imagination matérielle les quatre éléments fondamentaux qui constituent le monde, il ouvre tout un champ à l’imagination. Tanguy a non seulement déployé ses capacités de déformation en s’intéressant à l’image matérielle, mais il a aussi construit un nouvel univers, des objets irréalistes, en ajoutant l’imagination dynamique à l’imagination matérielle. L’imagination, chez Tanguy, est une source à laquelle puise l’esprit humain pour se libérer et, en même temps, le mode d’expression par images constitue l’un des principes centraux de la création picturale surréaliste. La pensée de Bachelard, qui accorde une grande importance à l’imagination, a joué un rôle créateur dans l’art de Tanguy ; elle acquiert une valeur propre : elle devient non seulement un mode d’expression picturale, mais aussi un outil de la critique d’art.

1960년대 광주·전남 화단-'구상과 추상 논쟁'에 관한 비평-

김허경 전남대학교 호남학연구원 2017 호남학 Vol.0 No.61

한국현대미술사에서 1950년대 후반과 1960년대로 이어지는 시점은 기존가치에 대한 전면적인 도전과 저항, 변혁의식이 표면화된 전환기에 해당한다. 당시 한국화단은 전후 추상미술인 앵포르멜이 급격히 대두됨에 따라 전통적 자연주의 계열의 작가들이 지향하는 구상과 추상의 대립양상이 고조되었다. 광주·전남화단은 해방이후 한국전쟁을 거치면서 전위를 상징하는 비구상, 추상미술 나아가 앵포르멜 회화로 확장하면서 구상과 추상의 양립구도를 이루었다. 전위적 회화는 대상을 묘사하는 데 치중한 인상주의 화풍, 자연주의 전통, 모든 사실적 경향을 일컫는 구상과 전면적으로 대치되면서 예술의 존재방식을 바꾸어 놓았다. 본 논문은 서울화단에 앞서 구상 대 추상의 논쟁을 제기하였으나 지금까지 조명되지 못한 1960년, 광주화단의 ‘구상과 비구상 논쟁’을 주목하였다. 구상과 비구상에 관한 추상시비가 광주화단에서 촉발된 이유는 무엇이며 시대적 상황과 어떠한 연관성을 지니는가? 라는 논점을 근거로 광주화단을 중심으로 전위적 회화의 등장과 전개과정 속에 유발된 구상과 비구상의 논쟁을 비평적으로 고찰하였다. 광주·전남 작가들은 일본유학의 직접적인 체험을 발판삼아 서양화단을 형성하면서 1930년대 오지호와 김환기의 활동을 통해 구상과 비구상의 미의식을 전개하였다. 이는 1950년대 강용운, 양수아가 추구해 나간 전위적 회화의 자양분이 되었으며, 한국현대미술의 태동기에 앵포르멜을 선도적으로 이끈 원동력이 되었다. 오지호의 「현대회화를 논한다」와 강용운의 「현대 회화론」은 평론가와 논객이 드문 지방화단에서 현대 회화에 대한 작가의 확고한 조형이념을 개진했다는 점에서 매우 예외적인 논쟁이었다. 특히 해방이후 본격적으로 전개된 ‘조형이념의 대결’이자 예술적 사유와 실천에 관한 미학적 의식이 드러난 담론이기에 한국현대미술의 발전과정에서 반드시 재고해야할 논쟁임을 방증하였다. 따라서 1960년대 논쟁의 꽃을 피운 광주화단의 현상은 구상과 추상의 양립구도 속에 예술의 본질과 회화의 형식, 작가의 태도, 창작활동이 나아가야 할 방향을 논함으로써 근본적인 미학의 문제를 다루었을 뿐 아니라 동시대 한국현대미술의 정체성을 모색해 가는 과정에서 전개된 미술논쟁이었다는 점에서 중요한 의의를 지닌다. The transition from the late 1950s to the 60s in Korea was a transformative period when the challenge and resistance against existing values came to the fore. Korean art scene at the time witnessed the rise in Informel art of the post war period which led to a higher tension between figuration and abstraction. After experiencing Korean War, Gwangju and Jeollanam-do art scene saw the expansion of non-figurative, abstract art, representing avant-garde, into Informel art which created the parallel composition of abstraction and figuration. In various aspects, avant-garde art is at the opposite of figuration which involves impressionism, naturalistic tradition and orientation on realism as it focuses on describing the subject and avant-garde painting transformed the modes of the existence of art. This thesis focuses on the 'debate between figuration and non-figuration' in Gwangju art scene in the 1960s which rouse the question prior to Seoul but has not been shed light on. What is the reason that the question of abstraction, in relation to figuration and non-figuration, started in Gwangju art scene and how does it link to the circumstances of the time? Starting from this point, the debate between figuration and non-figuration that was stemmed together with the advance and development of avant-garde art is critically explored, mainly focusing on the Gwangju art scene. Based on their time in Japan, Gwangju and Jeollanam-do artists formed a Western art circle and developed the aesthetical thinking of figuration and non-figuration through practices of those such as Oh Ji Ho and Kim Hwan Ki in the 1930s. These became the foundation of the avant-garde paintings that Kang Yong Woon and Yang Soo Ah pursued in the 1950s, which again drove Informel in the early stage of Korean contemporary art. Discussion about Contemporary Painting by Oh Ji Ho and Contemporary Painting Studies by Kang Yon Woon were exceptional cases in that they claimed the artists' strong ideas in figurative studies in the regional art scenes where critics or commenters are not so common. The importance of revisiting them in the context of the history of Korean contemporary art is apparent as they are discourses that mark the beginning of the 'debate in figurative studies' after the war and shows aesthetic thinking about artistic ideas and practices. Thus the significance of these phenomenon in Gwangju art scene in the 1960s where the discussion was highly active is not only in that it dealt with the substantial aesthetic issues by exploring the nature of art, painting formats, attitudes of artists or future direction of artistic practices but also in that it was in the path of seeking the identity of Korean contemporary art.

상호문화교육에 따른 박물관교육의 현황과 역할 연구 : 프랑스와 국내 박물관을 중심으로

김허경 유럽문화예술학회 2021 유럽문화예술학논집 Vol.12 No.1

한국은 2019년 국내 체류 외국인이 250만 명을 돌파하면서 바야흐로 다인종, 다문화 사회로 진입하였다. 이 가운데 다문화 학생의 비율은 2006년부터 지속해서 증가세를 보임에 따라 교육부는 2012년다문화 교육정책을 통해‘다양성을 이해하는 창의적 글로벌 인재양성’이라는 새로운 목표를 발표하였다. 이는 전 사회적인 협력강화라는 측면에서 다문화가정, 다문화 학생 교육에만 국한하지 않고 일반학생의 상호이해를 바탕으로 문화 다양성의 역량을 강화하기 위해 교육의 기회를 사회 전반에 확대하는 방안이었다. 이 논문은 ‘문화 간의 모든 형태의 상호작용’을 지칭하는 상호문화성이 모두를 대상으로 하는 교육원리로 작용하고 있음을 주목하고, 상호문화교육의 관점에서 박물관의 사회적 역할과 접목시켜 누구에게나 다양한 교육을 제공할 수 있는 연계방안과 방향성을 재고해 보았다. 이에 상호문화교육의 개념과 목적은 무엇이며, 박물관교육과 어떠한 연관성을 보이는가를 분석하기위해 다문화 사회화를 대표하는 프랑스를 중심으로 상호문화교육의 발전·과정과 이를 적용한 프랑스박물관교육의 현황을 살펴보고 국내 박물관교육의 사회적 역할과 실천방안을 논의하였다. 상호문화교육을 토대로 박물관의 역할을 살펴보는 것은 교육적 원리를 적용함으로써 다문화 교육의 분명한 목표를제시하고, 다가올 미래 사회에 대처할 수 있는 효과적인 교육 방안을 새롭게 모색하기 위함이다. 무엇보다 문화의 정체성 및 다양성을 포괄적으로 수용할 수 있는 교육의 장으로서 박물관의 방향을 개념화하여 공공성의 기능을 확대하고 동시에 다문화 교육에 관한 인식의 장을 넓히고자 한다. When more than 2.5 million foreign people were staying during the time of 2019, it clearly indicated that South Korea already became the multi-cultural and multi-racial society. As the ratio of the intercultural students among them was constantly on the increase since 2006, the Department of Education announced in 2012 a new intercultural educational policy called “creative and global leadership training based on the understanding of diversity.” This policy was a break from the traditional approach of confining intercultural education program within the intercultural families and students. From the perspective of the enhancement of the comprehensive social cooperation, it attempted to expand the educational opportunity to the society in general, aiming at the mutual understanding of all the students. This paper highlights that inter-culture that is indicative of “all forms of intercultural interaction” is operational as the educational principle applicable to all participants and investigates the new directions and ways of diverse educational programs for everyone by exploring the social role of museum in terms of intercultural education. Thus in order to analyze the concept and purpose of intercultural education and to explicate the correlation between inter-culture and museum, the paper deals with the educational programs of museum in France known as its excellence in the intercultural socialization; further, it also compares the findings in the case of France with the role and practice of the South Korean museum. This investigation into the role of museum through the lens of the principle of intercultural education will clearly suggest the purpose of diversity education and help to search for the effective educational ways to prepare for the future society. This paper is especially interested in the conceptualization of the new direction of museum education for the educational field inclusive of cultural identities and diversity. It will also contributes to the expansion of the social recognition of diversity education and ultimately, to the enhancement of the public role of museum.

유네스코 미디어아트 창의도시 광주의 인문자원과 도시예술 프로젝트 연구

김허경 전남대학교 호남학연구원 2023 호남학 Vol.- No.73

Under the slogan of ‘Gwangju, the Laboratory of Light’ whose value is based on ‘the Light of Human Rights’, ‘the Spirit of Justice Village’, and ‘the Tradition of Art Village’, Gwangju tried to acquire the membership of UCCN(the UNESCO Creative Cities Network) by integrating the various humanities resources such as democracy, human rights, arts, and technology, and was subsequently selected as a UNESCO Media Art Creative City in 2014. As the only selected Korean city in this field, Gwangju has presented its vision and goal to establish a city brand, and has designed and implemented key projects accordingly. Then, how does the convergence of the humanities resources and the media art change the urban space? Examining the role played by the promotion plan for the Creative City of Media Art in shaping the urban art projects is crucial in determining the city's creative identity. To this end, first, this paper classifies the types of humanities resources in the UNESCO Media Art Creative City into four categories of tourism-festival type, citizen-oriented type, cultural industry type, and art promotion type, and examines the respective characteristics. Second, this paper reviews the three-stage Media Art promotion project of 1) the Construction of Specialized Space, 2) the Creation of Gwangju Media Art Platform(GMAP), and 3) the Development of Media Art Creative Belt, and based on this, analyzes some concrete cases of Gwangju Media Art Urban Art projects. By investigating exchange and cooperation programs that are based on the spatial and artistic changes of Gwangju urban art and people’s experiential interactions, this paper presents the possible directions for the development of a sustainable creative city, the enhancement of urban competitiveness, and the strengthening of creative manpower. 광주는 ‘인권의 빛’, ‘의향정신’, ‘예향의 전통’에 근거하여 2013년 ‘빛의 실험실광주’라는 기치를 내걸고 민주・인권, 예술과 기술의 융합이라는 인문자원의 가치를 담아 UCCN 가입을 추진하였고 2014년 유네스코 미디어아트 창의도시로 선정되었다. 유네스코 미디어아트 창의도시 분야로서 국내 유일한 광주시는 도시브랜드 확립을 위한 비전과 목표를 제시하고 이에 따른 중점 사업을 수립・추진해 왔다. 그렇다면 도시 인문자원과 미디어아트의 융복합은 도시 공간을 어떻게 변화시키고 있는가. 미디어아트 창의도시 광주의 추진계획이 도시예술 프로젝트에 어떻게 반영되고 있는지 살펴보는 것은 창의 도시의 정체성을 가늠하는 중요한 요건이 된다. 이를 위해 첫째, 유네스코 미디어아트 창의도시 인문자원의 유형을 토대로 관광축제형・시민향유형・문화산업형・예술진흥형으로 나누어 그 특성을 살펴본다. 둘째, 광주미디어아트플랫폼 조성 3단계 사업인 특화공간구축, 광주미디어아트플랫폼(G.MAP), 미디어아트 창의벨트의 추진현황을 살펴보고 이를 토대로 광주 미디어아트 도시예술 프로젝트 사례를 분석한다. 광주 미디어아트 융복합 전시, 미디어아트 레지던스(2011∼2022), 광주미디어아트페스티벌(2010∼2022) 등을 통해 광주 도시예술의 공간적・예술적 변화와 경험적 상호작용에 기반한 교류・협력 프로그램 등을 살펴봄으로써 지속가능한 창의도시의 발전 방향, 도시경쟁력 제고, 창의인력 강화를 위한 방안을 제시해 본다.

1936년 신년호, ‘교육계 기념 동상’ 기사 해제

김허경 인물미술사학회 2023 인물미술사학 Vol.- No.19

프랑스 미술관의 확장된 공간 연구

김허경 한국프랑스문화학회 2008 한국프랑스문화학회 학술발표논문집 Vol.2008 No.1

레디메이드(Ready-made)의 차용과 확장에 관한 연구 - 장 탱글리(Jean Tinguely)를 중심으로

김허경 유럽문화예술학회 2010 유럽문화예술학논집 Vol.1 No.1

Jean Tinguely (l925-1991)was an artist who combined Dadaism with moving sculptures. Key word of post war contemporary art can be Ready Made of Marcel Duchamp (1887-1968). How "Ready-Made" was borrowed and extended in contemporary art? Duchamp's selection and presentation of Ready-Made , everyday object, as a work were intended to show that 따t work is borrowing from original works rather than creating something new. Jean Tinguely extended the category of an object d’art that is found in areas of everyday life through Duchamp’s Ready-Made concept and included ecological, social and historical contexts it implied. He borrowed and extended Ready-Made concept to seek new relationships between life and aπ by searching various media including kinetic art , insta11ation and happening while using waste materials. This study examined the overall characteristics of Tinguely’s works. To this end, this study examined Tinguely ’ s works by classifying them into material aspect and methodical aspect based on Duchamp’s Ready-Made. In addition, this study analyzed works in detail to understand movement, time orientation, spatiality and audience’s position deepened by Tinguely as extension of Ready-Made. Through this study, it was found that Tinguely ’ s Ready-Made was existential reflection of life as a way to accept a11 intemal factors including artist, work and audience In particular, borrowing and extension of Ready-Made expressed in Tinguely’s works showed the possibility as contemporary public art in that they correspond with environmental characteristics of modem that are moving and changeable in terms of form and meanmg.

들라크루아 회화의 이원성 미학에 관한 보들레르의 미술비평

김허경 한국프랑스학회 2017 한국프랑스학논집 Vol.97 No.-

À partir du romantisme au XIXème siècle, la peinture commence à se concentrer sur la façon de peindre, pas le sujet. Ce changement est devenu comme une notion principale de l’art moderne jusqu’aujourd’hui. Le romantisme correspondant à la notion ‘classique’ montre l’émotion et respecte la nature humaine, ce fait à offrir un moment crucial dans l’histoire de l’art en Occident. Comme cela, le romantisme se naît en conflit de l’esprit à l’époque par l’individualisme, dans ce moment-là où Charles Baudelaire commence à déployer ses critiques sur l’art. Baudelaire, en écrivant la critique sur le salon des arts qui etait le milieu des beaux-arts en France, montre déjà ses talents bien avant d’être connu en tant que le poète. Puis, il manifeste sa vonlonté artistique à travers ses écrits afin de s’interroger sur la relation entre l’image pictural et la perception. Eugène Delacroix, pour lui, est un ‘peintre poète’ et aussi une ‘lumière d’un phare’ par son esprit ouvert. Car celui-ci tente une nouvelle peinture par la couleur qui éveille la réalité et l’aspect intérieur avec une imagination créative hors de la facture d’art néo-classicique. Dans ce cas, qu’est ce que c’est le principe de la critique de Baudelaire? Cette thèse remarque des caractéristiques de l’esthétique en vue de la dualité qui est à la base de l’image picturale de Delacroix. Baudelaire voulait vérifier une homogénéité essentielle à travers la peinture de celui-ci qui met en relation esthétique entre la poésie et les beaux- arts. Et il découvre la particularité de son art en dualité par biais de ‘contraste de la couleur complémentaire’ et de ‘fluidité de ligne’. En conséquence, ce que cette thèse dérivée de l’interrogation sur la dualité comme une notion d’esthétique recherche à travers la critique baudelairienne, c’est de s’interroger sur un nouveau critère de la beauté et sur l’expression artistique dans un moment transitoire. La critique de Baudelaire est donc une tentation pour assembler la sensation à la langue. C’est une nouvelle manière de la critique qui traite à la fois l’artiste et le critique lui-même.

브뢰겔 예술의 우의(寓意)적 특성에 따른 주제 연구

김허경 유럽문화예술학회 2016 유럽문화예술학논집 Vol.7 No.2

Based on perception, art has archived ideas that are fundamentally unchanged as well as social phenomena that change over time. For this, there have been new attempts to interpret the appearance that exist in the reality according to the different needs of each time. Being crucial channels for the political, religious and social transformations of the time, paintings of Flandre in the 16th century reveal then contemporary issues and ideas. The prominent dutch artist Pieter Bruegel the Elder(1525-1569), known as the ’painter of the peasants' who draw 'genre paintings' based on the solid foundation of Northern European tradition and reality, represents the peak of 16th century Flemish painting tradition. The Netherlands in the 16th century when Bruegel was practicing was the center of Protestant Churches influenced by Calvin. Renaissance was coming to an end while it was seeing the dawn of a new religious revolution. In this serious upheaval, conflicts between the old and new were sharper than ever. Under the Spanish rule, a strict Catholic nation, the people had to endure brutal oppression in the midst of the turmoil of religious conflict where believers on the revolutionists ’ side were persecuted. Confronted by the calls from the revolutionists of the time, Bruegel focused on the fountain of life throbbing in the lives of the politically, religiously and socially marginalized. His works imply Flemish social environment and culture reflecting folk drama, religious icons, biblical metaphor, satire of the lives of the peasants, the folk and old sayings. Though expression was limited under religious conflicts, his works demonstrate the spirit of revolution with a strong message based on his clever use of allegoric language and mordant sarcasm. Allegorism in Bruegel' s paintings refers to the mode where the message is relayed in the metaphors of a concrete subject or through the satire. Outwardly are the usual elements including the action and backdrop of the subject but behind it, lie the clear narrative of religious and moral messages, connoting a double layered structure. Based on keen observation, Bruegel' s works are rich in allegorism that describe the reality and moral hazard of the time, integrating the rigorous lessons from religion and history and human’s direct expenences. Then, how can we interpret the allegorism hidden behind Bruegel' s realistic paintings? This study analyzes the allegoric motifs in the works which lie within the circumstances, religion, custom, sayings of the Netherlands of the time. His mode of allegorism knocks down the false power and ignorance of human from the inside while reflecting the revolutionist spirit of the time he lived. The interpretation of the allegoric themes innate in Bruegel' s works will be the valid yardstick in seeing them, providing an opportunity to have an insight that penetrates throughout time and history.