글로벌리즘과 동아시아 불교미술 연구

이승혜 ( Seung Hye Lee ) 미술사와 시각문화학회 2014 미술사와 시각문화 Vol.13 No.-

The term ‘globalism’ or ‘global art history’ have been featured in titles of numerous books published, conferences held, or research projects conducted all over the globe in recent years. How has globalism affected the ways in which art historians perceive and rewrite art history`s largely Eurocentric framework? Could globalism, the product of the contemporary world, provide new perspectives on the product of distant past such as traditional East Asian Buddhist art without a ‘presentist’ bias? How do questions raised under the rubric of globalism differ from ones examined in traditional studies of East Asian Buddhist art? How might a concept like interregional or cross-cultural exchange take the place of the nation-state or the global as an analytical framework? This article maps out recent art historical discussions on globalism and examines their implications for studies of ancient and medieval East Asian Buddhist art. My discussion reveals that a global perspective has illuminated ‘hybrid’ art objects largely neglected in conventional art historical scholarship and rekindled interest in cross-cultural interaction that transcends geographical and political boundaries. Although many studies have thoroughly examined the issue of acculturation in East Asian Buddhist art, most of them trace movement of art objects, visual forms, or iconographical motifs through a linear perspective that more often than not flattens dynamics of cross-cultural exchange. However, recent studies propose to turn our attention from the interaction of visual forms to that of the ideas such as Buddhism and Catholicism or that of practices. The last section of my article proposes a new perspective, informed by recent scholarship on global art and cultural exchange, on the practice of enshrining relics and other sacred items within the inner recesses of Chinese Buddhist statues. It is often said that relics were enshrined in order to transform otherwise inert, material image of the Buddha into a living Buddha. However, examination of how the Gandharan practice of inserting a relic or jewel in a hole in the usnisa of a Buddhist image changed in medieval China reveals that conceptions of the iconic body changed in accordance with local conditions. I trace out larger trajectories of the two modes of placing objects inside Chinese images with a focus on the Seiryoji Buddha image, made in Taizhou in 985. I suggest that the combined deposit of relics inside the head and mock organs within the torso of the Seiryoji Buddha image was deeply rooted in the heightened awareness of corporeality?a cultural phenomenon that had appeared from the eighth century and that is clearly shown in the flesh-body icons of Chan masters.

르네상스의 混血美術史:동아시아의 예수회 미술

신준형 서양미술사학회 2009 서양미술사학회논문집 Vol.31 No.-

In the traditional scholarship of art history, the period of Renaissance has been perceived as the culmination of resuscitated Humanist ideal and mimetic visual techniques such as linear perspective and chiaroscuro. This recurring eulogy of Renaissance is, to a large extent, ascribed to the fact that the discipline of art history itself has been initiated by German-speaking scholars fascinated by southern, Mediterranean art of Classical Greece and Renaissance Italy. In other words, this stereotypical understanding of the Renaissance originates in the nationalistic awareness of the self and the other between the European nations north and south of the Alps. In 1995, Claire Fargao rightly pointed out the element of Nationalism in the shaping of Renaissance scholarship and brought to light its resultant extension: viewing non-European others such as Africans, Amerindians, and Asians from the perspective of the Italian or European Renaissance. In order to overcome or “reframe” this traditional boundary of the Renaissance, she insisted to incorporate the post-Colombian American art and to redefine the period as the full launching of global contact and global art. In 1999, Gauvin A. Bailey further explored this issue of global exchange of visual culture by focusing on the mission activities of Jesuits in four realms of the world: Mughal India, China, Japan, and the Americas. Farago suggested the term of hybridization to refer to this new genus of Renaissance art; Bailey, after critically reviewing the terms such as acculturation, transculturation, and inculturation, eventually came up with the tentative term “partnership.” As a specialist of Renaissance Christian art, and as Korean national with Buddhist and Confucianist legacies, I would like to deal afresh with this acculturation issue in the Jesuit art introduced and reproduced in East Asia, by discussing them not as cultural objects but as religious objects. Even though the issue of acculturation in visual form has been thoroughly studied, one of the most interesting case being James Cahill’s work in 1982, I suggest here to turn our attention to the conflation or interaction of the ideas such as Buddhism and Catholicism, rather than their visual outcomes.

항일독립운동의 기지 북간도 명동촌 개척자들의 일생의례

김시덕 비교민속학회 2019 비교민속학 Vol.0 No.68

Studying the living(life) culture(folklife) of Koreans in North-Gando involves finding the background of their anti-Japanes independence movement. The anti-Japanese national consciousness and economic power of the pioneers who built a ‘utopia’ in the Myeongdong Village formed the foundation of the anti-Japanese independence movement of the North-Gando. They have been called hidden independent army. The purpose of this paper is to study their life culture centering on the rites of passage of the hidden Independent army who established the base of anti-Japanese independence movement in North- Gando. As the second generation left the north-Gando after Korean liberation, their life cultural data were ruined. We have no choice but to rely on some of the remaining photos, reminiscences, liturgical books, and literary works. The early living culture of the Myeongdong Village pioneers belonged to a Confucian style based on the Hamgyong Province tradition. In the early days, the traditional rites of passage called Gwanhonsangje were performed in Myeongdong Village. However, they decided to convert to Christianity in order to survive in the foreign country and to actively participate in the independence movement. For this reason, the existing complex funeral process and ancestral ritual, which were not related to Christian rites, gradually began to disappear. When it comes to wedding ceremony, Christian elements were overlaid with traditional elements. The 60th birthday maintained a traditional form, However, a new style of taking commemorative pictures was added. Tradition(old-style) suffered from conflict with the Christian style(new-style), but finally accommodated. They created a new culture. The portrait of the deceased called Youngjeong began to be used in the 1940s due to the influence of China. The black ribbon adorning the portrait of the deceased was influenced by Japanese style. The ribbon on the left chest and the armband on the left arm were derived from Christianity. However, Japan developed the black ribbons and armbands as the symbols of robe and used them for the rule of controlling colonists. In summary, first, the rites of passage of the Myeongdong Village pioneers were syncretized with the traditional old style and Christian new styles. On the basis of the accommodation, they created a new form. Second, as Japanese mixed the Christian and Western styles in order to create their colonial style, the rites of passage of Koreans in Myeongdong Village lost their identities. As Korea was liberated from Japan, even the second generation of Myeongdong Village left North-Gando and unfortunately, their rites of passage disappeared in history. 북간도 한인들의 생활문화를 연구하는 것은 북간도 독립운동의 배경을 찾는 일이다. 이상향을 건설한 명동촌 개척자들의 항일민족의식과 경제력은 북간도 독립운동의 토대가 되었다. 이들을 숨은 독립군이라 한다. 이 논문의 목적은 북간도 항일독립운동의 기지를 건설한 숨은 독립군들의 일생의례를 중심으로 그들의 생활문화를 연구하는 것이다. 해방되면서 그 2세들이 북간도를 떠나면서 생활문화 자료를 잃어버린다. 일부 남은 사진, 회고, 문학작품과 함께 예식서 등에 의존할 수밖에 없다. 명동촌 개척자들의 초기 생활문화는 함경도의 전통에 기반을 둔 유교식이었다. 초기에는 관혼상제라는 일생의례의 전통적인 모습이 명동촌에서 재현되고 있었다. 그러나 그들은 식민지, 타국에서 살아남고, 독립운동을 전개하기 위해 기독교를 받아들인다. 성경에 어긋나는 상례의 복잡한 절차와 제례는 자연히 사라지게 된다. 혼례는 전통 요소에 기독교식 요소가 덧씌워진 형태로 발전한다. 회갑은 전통의 형태를 유지하지만, 기념사진을 찍는 신식이 첨가된다. 전통(구식)은 기독교식(신식)과 갈등을 겪지만, 습합하여 새로운 문화를 만들어낸다. 영정사진은 중국의 영향으로 1940년대부터 사용하기 시작한다. 영정에 장식하는 검정리본은 일본의 영향이다. 왼쪽 가슴의 리본, 왼팔의 완장은 기독교에서 시작되었다. 그러나 일본은 검정리본과 완장을 예복의 상징으로 발전시키고, 이를 식민지 통치에 활용한다. 일차적으로, 명동촌 개척자들의 일생의례는 전통적인 구식과 기독교식의 신식이 습합 하면서 새로운 형태가 만들어진다. 이차적으로 기독교 및 서구의 신식을 응용하여 식민지배 정책에 맞춘 식민지식(최신식)을 만들면서 한인들의 일생의례는 정체성을 상실한다. 해방되면서 이주 2세들조차 북간도를 떠나자 이마저도 역사 속으로 사라졌다.