한국전쟁과 지방화단

조은정(Cho Eun-Jung) 부산대학교 한국민족문화연구소 2010 한국민족문화 Vol.38 No.-

1950년에 발발한 한국전쟁은 식민지에서 벗어난 지 얼마 되지 않은 상태였던 한국 사회의 많은 것을 변화시켰고 미술인의 활동에도 일정 부분 변화를 가져왔다. 월북과 월남 그리고 부산으로의 피난으로 대표되는 작품활동 지역의 변화는 근거지를 잃은 작가들이 고향과 경제력을 상실하게 함으로써 개인적인 패배감을 강화시켰을 뿐만 아니라 심리적인 공황까지 야기시켜 작가 자신의 세계를 개척하기 어렵게 만들었다. 하지만 전쟁 중에도 화가들은 다방에서 개인전이나 그룹전을 열어 창작열을 불태웠으며 대한미술협회라는 단체를 결성하여 전열을 정비하기도 하였다. 그림 그릴 재료가 곤궁하고 생활이 어려운 상황에서도 미술에 열중할 수 있다는 프로의식과 예술에의 의지를 볼 수 있는 이들 전시문화에는 당시의 상황에 대응한 작가의 현실 인식이 반영되어 있다. 현실 도피로서의 순수에의 집념, 무능한 가장으로서 현실적으로 해낼 수 있는 유일한 일인 그림그리기, 그 어느 것이든 한국전쟁기 화단의 활동은 멈추지 않았는데 이는 상당히 중요하며 고무적인 일이다. 다만 이념의 갈등이 빚어낸 전쟁이고 자신의 국토에서 발발한 전쟁이지만 정작 자신들은 전쟁의 주체가 되지 못한 전쟁이 한국전쟁이었다는 뼈아픈 사실을 감안하지 않으면 안 된다. 전쟁이 건국초기에 비하여 한층 더 강화된 반공이념을 정당화시키는 상황에서 미술단체와 미술제도 그리고 개개인은 이념으로부터 자유로울 수 없었다. 이념적 성향에 따라 세속적 성공과 좌절이 결정되고 마는 한계 상황에 설 수 밖에 없게 되었던 것이다. 인적 구성의 변화는 남한 내에서도 마산에 있던 임호나 이준이 부산으로 왔고, 또 휴전과 함께 이준은 서울에서 열린 제2회 〈국전〉에 화려하게 등장하였다. 미술인의 이동은 월남이나 월북 이외에 남한 내에서도 지방에의 정착과 지방미술인의 상경으로 이루어졌다. 피난민으로서 미술가들의 위상은 거주지를 옮겼음에도 끊임없이 전시를 하거나 미술작품의 창작을 쉬지 않음으로써 미술가로서의 정체성을 유지한 것이었다. 일찍이 미술에서 그렇게 활발하게 직접적으로 중앙과 지방의 교류가 이루어졌던 적은 없었다. 미술인들은 자신이 거주하는 곳의 환경과 의미를 느꼈고 그것을 어떠한 방식이든 작품에 투사하였다. 박고석의 부산의 여러 장소에 대한 풍경이나 이중섭의 제주도 풍경이 그러한 예이다. 또한 부산에 거주하는 작가들에게 다른 지역 작가들 특히 서울에서 피난온 모더니즘 계열의 자극은 자신이 속한 지역의 색채에 대한 깊이있는 논의로 이어져 전통에 대한 관심과 민족적인 미술의 확산으로 이어졌던 것도 주목할 일이다. 지방과 중앙 혹은 피난민 화가들과 지역작가들과의 관계는 일방적 영향관계로 파악했을 때, 상대에 대한 부정으로 작용하여 문화적 교류 혹은 충격이라는 사실조차 부정하게 되는 것을 본다. 그리고 당시에조차 그러한 시각은 중앙의 모더니즘 대 지방의 전통이라는 이원적인 시각을 양산하는 배경이 되었다. The Korean War that broke out in 1950 had brought a lot of changes into the Korean society, as it was only a while after becoming decolonized. It also had affected certain parts of artists’ activities. Due to evacuating toward north or south over the border, and to Busan, artists loosing their hometown and economic strength were the changes in major regions of creating pieces. Therefore, it didn’t only enhancethe sense of defeat, but also caused psychological panic so it made the artists even more difficult to develop their own world. However, artists opened private or group exhibitions in coffee shops to express their creativity. They also formed a group called ‘Korean Association of Art’ and settled the combative fervor. Artists’culture of exhibitions reflected their cognitive reality of coping with the circumstances during that time and it proved that even with scarce art materialsand difficult living environment, they could concentrate on art as professionals and it represented their will of art. Being deeply attached to purity to avoid the reality, as being an incompetence head of a household, the only thing they would do was drawing; however, none of the reasons stopped them from participating in the world of artists during the Korean War, which was really important and encouraging. Even Korean War was aroused in Korea, Korea wasnot the main subject of the war, and it started due to ideological conflicts. Therefore, the fact that Korean War was a definite agony should not be taken out of consideration. It was not possible for artists’organization, art institutions, or individuals to express their ideology fully after the war, since the anti-communism sentiment had become even more justified, compared to initial stage of establishing a country. They had to face the limited reality where secular success and breakdown were decided by their ideological propensity. The change in formation of human footsteps had also existed in South Korea; Lim, Ho and Lee, Jun had movedto Busan from Masan, and as armistice started, Lee, Jun had remarkably exposed himself through 2n the National Art Exhibition in Seoul. The movement of artists was not only crossing over the border to South or North Korea, but some artists settled in rural regions, and some came up to Seoul from rural areas. Even changing their place of residence as refugees, artists maintained their identity by opening art exhibitions constantly and not giving up on creating artworks. There never had been that direct and active way of interchange in art between the rural and central regions. Artists were impressed by their surrounding environments and significances, thus they portrayed it in their artworks in anyway. Several scenery of Busan by Park, Go-suk, and Jeju Island’s scenery by Lee, Jung-Sup are the examples. Also, the artists of modernism line from other regions’, especially Seoul, had stimulated artists living in Busan. It should be noted that, the fact of having in-depth discussion about their regional coloration among the artists had led them to become more interested in the tradition, and it even extended the field of art. By understanding the relations between the rural and central, the refugee artists and regional artists, respectively, were unilaterally influential relations they even disagreed on the fact that it was cultural exchange or cultural shock since they impactedeach other negatively. Even during that time, that kind of viewpoint had become the background of setting the ‘central modernism vs. rural tradition’ dualistic perception.

구조적 충격의 영향과 동적 반응의 추정

조은정,김태호,Cho, Eun-Jung,Kim, Tae-Ho 한국통계학회 2011 응용통계연구 Vol.24 No.5

본 연구에서는 기존의 벡터자기회귀모형에서 내생변수의 충격을 식별 가능하도록 모형의 당기 구조교란항 계수행렬에 사전 제약을 가해, 외생적 충격에 대한 변수들의 장단기 동적 반응을 추적해 보았다. 구조형 모형에 특정 이론에 의거하지 않고 현실상황에 상응한다고 판단되는 식별제약을 설정하여 추정하고 각 변수의 변동에서 각 구조적 충격이 차지하는 상대적 중요도를 계산하였다. 분석결과는 식별제약 및 모형의 추정결과와 일관성을 유지하는 것으로 판명되었다. This study investigates long and short run responses of variables to exogenous shocks by imposing prior restrictions on a contemporaneous structural shock coefficient matrix of the model to identify shocks by endogenous variables in the vector autoregression. The relative importance of each structural shock in variation of each variable is calculated through the identification of proper restrictions (not based on any specific theory but on researcher judgment corresponding to actual situations) and an estimation of the structural vector autoregression. The results of the analyses are found to maintain consistency.

과거와의 대면 : ${\ll}$미르티스${\gg}$ 전시를 통해 기억된 아테네 대 역병

조은정,Cho, Eun-Jung 한국미술이론학회 2012 미술이론과 현장 Vol.14 No.-

The exhibition <Myrtis: Face to Face with the Past> was started in 2010 in the New Acropolis Museum of Athens and embarked a journey since 2011 as a travelling exhibition inside Greece and abroad. The main purpose of the exhibition was to draw attention of the general public to the value of the 'rescue excavation' and of cultural heritage of Greece, by presenting the reconstruction bust of a girl whose skull was found in Kerameikos cemetery of ancient Athens. The new Kerameikos excavation was initiated by the construction of Metropolitan Railway lines in the center of Athens between 1992 to 1998. It revealed a pit of a mass burial where about 150 people were inhumed in a very hasty way without proper funeral rites or offerings. These bodies are identified as the victims of the infamous plague of Athens in the first years of the Peloponnesian War(430-426 BC). The epidemic disease killed almost one third of the city population including Pericles, and brought extreme fear and panic to the Athens society. The traditional funerary rites were totally disrupted, and the social decorum and the morality among the citizens became enfeebled. The plague and the civil war were the decisive factors to end the Golden Age of Democratic Athens. However, the exhibition organizers did not focus on the tragic aspect of this disaster and its casualties. Their main concern was to simplify the scholarly works of archaeological excavation and microchemistry analysis so that the exhibition viewers will easily understand and empathize the living value of the scholarly works of ancient Greek civilization. The centripetal element of the exhibition was the vivid face of an 11 years old ancient girl 'Myrtis', which was carefully reconstructed based on both the scientific data and artistic imagination. Also the set up of the exhibition was structured in order to stimuli cognitive and emotional experience of the visitors who witnessed the rebirth of a vibrant human being from an ancient debris. The museologists' continuous efforts to promote projects of contemporary artists, publications, and school programs related to the <Myrtis> exhibition indicate that the ulterior motive of this exhibition is the cultural education of the present and future generation through the intimate experiences of ancient Greek life. Also this is the reason why the various museums that held the travelling exhibition try to make the presentation as a gesture of memorial service for an anonymous Athenian girl who deceased circa 2400 years ago. The pragmatic efforts of Greek scholars and museologists through <Myrtis> exhibition show us a way to find a solution to the continuous threat of cultural resources by massive construction projects and land development, and to overcome public indifference to the history and cultural heritage.

수학자 테일러의 선 원근법과 화가 커비의 해설서

조은정,Cho, Eun-Jung 한국미술이론학회 2009 미술이론과 현장 Vol.7 No.-

In the development of linear perspective, Brook Taylor's theory has achieved a special position. With his method described in Linear Perspective(1715) and New Principles of Linear Perspective(1719), the subject of linear perspective became a generalized and abstract theory rather than a practical method for painters. He is known to be the first who used the term 'vanishing point'. Although a similar concept has been used form the early stage of Renaissance linear perspective, he developed a new method of British perspective technique of measure points based on the concept of 'vanishing points'. In the 15th and 16th century linear perspective, pictorial space is considered as independent space detached from the outer world. Albertian method of linear perspective is to construct a pavement on the picture in accordance with the centric point where the centric ray of the visual pyramid strikes the picture plane. Comparison to this traditional method, Taylor established the concent of a vanishing point (and a vanishing line), namely, the point (and the line) where a line (and a plane) through the eye point parallel to the considered line (and the plane) meets the picture plane. In the traditional situation like in Albertian method, the picture plane was assumed to be vertical and the center of the picture usually corresponded with the vanishing point. On the other hand, Taylor emphasized the role of vanishing points, and as a result, his method entered the domain of projective geometry rather than Euclidean geometry. For Taylor's theory was highly abstract and difficult to apply for the practitioners, there appeared many perspective treatises based on his theory in England since 1740s. Joshua Kirby's Dr. Brook Taylor's Method of Perspective Made Easy, Both in Theory and Practice(1754) was one of the most popular treatises among these posterior writings. As a well-known painter of the 18th century English society and perspective professor of the St. Martin's Lane Academy, Kirby tried to bridge the gap between the practice of the artists and the mathematical theory of Taylor. Trying to ease the common readers into Taylor's method, Kirby somehow abbreviated and even omitted several crucial parts of Taylor's ideas, especially concerning to the inverse problems of perspective projection. Taylor's theory and Kirby's handbook reveal us that the development of linear perspective in European society entered a transitional phase in the 18th century. In the European tradition, linear perspective means a representational system to indicated the three-dimensional nature of space and the image of objects on the two-dimensional surface, using the central projection method. However, Taylor and following scholars converted linear perspective as a complete mathematical and abstract theory. Such a development was also due to concern and interest of contemporary artists toward new visions of infinite space and kaleidoscopic phenomena of visual perception.

논문편 : 도시 신혼기가계의 주거이동계획에 관한 연구

조은정,배순영 ( Eun Jung Cho,Soon Young Pae ) 대한가정학회 1992 Family and Environment Research Vol.30 No.4

유아를 위한 정보책의 인식과 활용 실태

조은정 ( Eun Jung Cho ),현은자 ( Eun Ja Hyun ) 성균관대학교 생활과학연구소 2003 生活科學 Vol.6 No.-

표준영정에 대한 연구

조은정(Cho, Eun-Jung) 부산대학교 한국민족문화연구소 2016 로컬리티 인문학 Vol.0 No.15

표준영정은 문중에 하사하거나 기념으로 남긴 공신녹권 등 초상화 제작문화에서 발원한 것이다. 현대 국가에서 왕조사회의 습속이 권력의 의지에 의해 제도화한 과정임을 확인할 수 있는 것이다. 어떤 인물을 표준영정의 대상으로 지정하느냐에서부터 심의, 승인하는 과정에 위원회라는 조직이 관여하고 최종저긍로 국가가 승인함으로써 사적 인물의 초상화는 공공화한다. 제작중 발생하는 ‘핍진’의 준거는 시대의 양식과 함께 심의자와 발주자들의 타협선이다. 초상화인 영정이 ‘표준화’되면서 갖는 이점에도 불구하고 문제점을 거론하게 되는 것은 제도의 운영주체가 국가가 됨으로써 미술이 권력에 복속하게 되기 때문이다. 또한 과거 인물들의 이미지인 표준영정의 ‘표준’이 과연 무엇인가라는 문제에 직면한다. 표준영정이 미의 이념이나 인물에 대한 해석 혹은 그 시대에 대한 이해를 가시화하고자 하는 주체들의 욕망의 반영에 지나지 않을 수 있는 것이다. 과거 초상화는 인물의 재현으로서 기능을 가졌다면 현대 미술가의 손에 의해 제작된 초상화는 ‘작품’으로 위치한다. 그럼에도 심의위원회의 고증을 거쳐 허락을 받아 승인되는 제작과정은 미술의 자율성이라는 측면에서도 고찰되어야 할 것이다.

예비유아교사의 창의적 인성이 교직관에 미치는 영향

조은정(Cho, Eun Jung),신수경(Shin, Su-Kyung) 학습자중심교과교육학회 2021 학습자중심교과교육연구 Vol.21 No.6

본 연구는 예비유아교사의 창의적 인성이 교직관에 미치는 영향을 알아보는데 목적이 있다. 연구대상은 G시와 J도에 소재하는 4개 전문대학교 유아교육과에 3학년에 재학 중인 예비유아교사 151명을 대상으로 2020년 6월 1일부터 6월 12일까지 설문지를 배부한 후 수합된 자료 중 총 147부의 자료를 분석하여 다음과 같은 결과를 도출하였다. 연구 결과, 첫째, 예비유아교사의 창의적 인성과 교직관은 유의미한 정적인 상관관계를 가지고 있는 것으로 나타났다. 둘째, 예비유아교사의 창의적 인성은 교직관에 지대한 영향을 미치고 있는 것으로 나타났으며, 특히 창의적 인성의 하위요인 중 독자성이 교직관에 가장 많은 영향을 미치고 있는 것으로 나타났다. 이러한 본 연구결과는 예비유아교사의 개인적 변인인 창의적 인성을 신장시킴으로써 예비유아교사의 교직관 확립과 더불어 교육의 질을 향상시키는 방안을 정립하기 위한 기초자료가 될 것이라 사료된다. The purpose of this study is to find out the influence of the creative personality of pre-service Early Childhood Teachers Creative Personality on the View of Teaching Profession. In this study, questionnaires were distributed to 151 third-year pre-service early childhood teachers to four colleges located in G city and J province. After that, a total of 147 copies of the collected data were analyzed for the study. As a result of the study, first, it was found that there was a significant positive correlation between the creative personality of the pre-service early childhood teacher and the view of the teaching profession. Second, it was found that the creative personality of pre-service early childhood teacher has a profound influence on the view of the teaching profession, in particular, the independence among the sub-factors of the creative personality has the most influence on the view of the teaching profession. The results of this study are considered to be the basic data for suggesting a plan to improve the quality of education of teachers as well as establish the view of the teaching profession by Increasing the creative personality, which is a personal variable of the pre-service early childhood teacher.

플리니우스의 폴리클레이토스와 미론

조은정(Cho, Eun-Jung),정은진(토론자) 서양미술사학회 2012 서양미술사학회논문집 Vol.36 No.-

기원 전 5세기 그리스 조각을 이상적인 규범으로 삼는 근세 고전주의 양식사학은 고고학적 사료보다는 고대 헬레니즘과 로마 저서들의 서술 내용을 토대로 해서 형성, 발전되었다. 본 논문은 빈켈만의 『고대 미술사』와 플리니우스의 『자연사』를 비교 분석함으로써, 고대 저자들의 미학적 관점과 서술적 표현이 근세 이후 현재에 이르기까지 서구 미술사학자들이 고대 그리스 미술을 역사적으로 재구성하고 더 나아가서 조형 양식의 가치를 평가하는데 중요한 기준으로 작용했음을 밝히고자 한다. This paper is concerned with the influence of ancient Roman authors on the development of the idea of ‘Classical Greek Style’ by modern art historians, focusing on the relationship between the texts of Winckelmann and of Pliny. The concept of period style played a key role in the development of Western Art History. One representative case is J.J. Winckelmann’s Geschichte der Kunst des Altertums (1764), which was considered as the first modern scholarship work of Art History. He defined the organic development of ancient art, providing a historical framework for ancient Greek sculpture based on the concept of period style. The main point is that Winckelmann’s division of ancient artistic style into four periods was heavily influenced by the Greek and Roman historiography and rhetoric. As is observed in Herodotos’ Iστορ?η? Aπ?δεξι?, classical authors considered ?στορ?α as an intellectual tool and communicative activity for human knowledge. Furthermore, Pliny’s Historia Naturalis became the essential source for Winckelmann’s concept of period style as well as his aesthetic view-point. The conformity of Pliny’s narrative with Winckelmann’s theory on Greek masterpieces clearly reveals this fact. Also the descriptive terms of Pliny for the five most famous Greek statuaries (Pheidias, Myron, Polykleitos, Pythagoras, and Lysippos) and their gradual conquest of the problems of symmetrical proportion(συμμετρ?α), numerus (?υθμ??), and grace(χ?ρι?) were directly inherited to the text of Winckelmann. What should be regarded in the estimation of Pliny’s influence on modern Art History is that these descriptive terms of Greek and Latin literature for ancient visual art implicate both of the authors’ qualitative judgment as well as of formal characteristics of art works. And such a classical view point of Roman authors and the stylistic paradigm constructed by their modern heirs have induced ambivalence and contradictions in pursuing the ‘reality’ of ancient Greek art in Western Art History until now.

광복 후부터 1950년대까지 한국에서 활동한 외국인이 본 한국미술

조은정(Cho, Eun-Jung) 한국미술이론학회 2006 미술이론과 현장 Vol.4 No.-