미술사와 민족국가주의

이인범 미술사학연구회 2008 美術史學報 Vol.- No.31

This essay purports to be in the relationship of art history and nationalism, especially a methodology for carrying out researches on writing Korean art history in order to submit an agenda for the theme <Art History and ‘Here Now’> of the Korean Society of Art History that commemorates the 20th anniversary. An aesthetician Arthur Danto indicates the declining of the nationalist tendency as remarked that nationalism vanished completely though it had the practical aims and the art world that has a multiplicity of centers seems to be one nation that has its own a sovereignty. As the recent art theory becomes more complex as well as the many different fields to globalize is necessary. But a major topic in Korea art history is still linked directly or indirectly with the ideological nationalism. We can easily find a superiority complex in the words such as ‘national’, ‘people’, ‘native’, ‘autogenous’, ‘self-conceit’, and ‘self-respect’ used in many writings for giving an account of Korean art history. Nationalism had an affirmative role in the antagonized discourse for making a strong stand against the colonialism. On the one hand ‘nationalism’ or ‘state’ was the basic concept of the effective modality in order to spread out a realization of modern art and art history. Obviously the realization of modern art, art history, and modern state have the same root genetically. However, ideological nationalism in a point of today's view is irrelevant for learning that must be the pursuit of universal validity. In this sense a criticism for nationalism is required in writing Korean art history. Yet we still can inquire a possibility and limit of exploring the relationship between art history and independent state in writing Korean art history. If we can extricate Korean art history from the domain of the religion of a people do then and not till then we will succeed in placing Korean art history on the universal state of art.

한국메세나협의회의 문화예술교육 지원 사례 - 문화예술 소외지역 학생들을 위한 미술교육 -

허정임 한국초등미술교육학회 2011 미술교육연구논총 Vol.30 No.-

This paper deals with afterschool program of arts education in elementary school supported by KBCA(Korean Business Council for the Arts: The Branch of Korean Mécénat). Two cases of elementary schools are introduced to show how private business supports cultural arts education through KBCA. The purpose of this paper is to explain the research of the arts and cultural education service that was implemented in a local community with the financial support of a private business and the educational aid of a university research center. In this arts program, these two organizations provide socially marginalized students with a chance to experience arts and cultural education. By participating in art localized traditional art activities, students are given a sense of the importance the arts have in their individual lives, connecting themselves with their emotions, improving their power of expression and creativity allowing students to gain confidence and fulfillment. The paper reports the research results using the program concepts; expression, art making, decoration, exploration of traditional arts' meaning, and the experiencing of traditional art. It notes the utilized art activity forms of direct experience, such as designing and creating works of art for one's self. The main program content focus, Dok-paper dolls making, a traditional Korean art, is shown to be the way that lower grade levels are provided an aesthetic experience while upper grade levels explore hands-on activities. This paper will show how the program was implemented and will share the analysis of the data and the researchers' conclusions. This paper is a case study of improving creativity through providing the students in an economically, socially, culturally isolated region with proper opportunities of art and cultural education. 이 연구는 세계 26개국에서 실행되고 있는 메세나의 교육지원 활동 가운데 한국메세나의 문화예술 교육 지원에 관한 것이다. 즉 기업의 경제적 지원과 대학 연구소의 교육인력지원으로 문화예술교육이 사회에 어떠한 방식으로 이루어지는가를 제시하는 현장연구이다. 이 두 지원 단체는 경제적, 지리적으로 문화격차가 많은 소외지역의 학생들에게 문화예술교육의 기회를 제공한다. 이러한 교육을 받은 학생들은 자신이 경험하지 못했던 문화예술에 대해 친밀감을 갖게 되고, 자신감과 성취감을 가지게 된다. 한국메세나협의회와 교육단체의 지원체계가 학교문화예술교육에 적용되는 방식과 미치는 영향을 살펴보고자 한다. 이 연구에서 학생들에게 적용하는 교육 프로그램은 그들을 위해 특별히 제작된 것이다. 표현하기, 만들기, 꾸미기, 방법탐색 등의 일반적인 미술교육 내용과 전통미술을 다양하게 체험할 수 있도록 구성하였다. 특히 닥종이인형 만들기는 고학년 학생들에게 인내심을 길러주고 저학년 학생들에게 손 근육을 고루 사용하는 교육적 효과를 거둘 수 있었다. 이 연구의 내용은 한국메세나협의회에서 2009년부터 2010년까지 지원된 미술교육의 사례들을 통해 교육 환경이 열악한 문화예술 소외지역에서의 교육방법을 제시하고, 이러한 지원형태의 교육 사례가 공교육에 시사하는 교육적 의미와 미술교육에 대한 메세나의 사회적 역할을 논하고자 한다.

예술, 상징 그리고 체험 : 카시러(E. Cassirer)와 손탁(S. Sontag)의 관점을 중심으로

신응철 한국문화교육학회 2011 문화예술교육연구 Vol.6 No.3

예술에 대한 관점이 최근의 포스트모던 사회, 다원화된 사회에 접어들면서 다양한 형태로 변화되고 있다. 특히 예술교육에 초점을 맞추어 살펴본다면, 이를 더욱 실감할 수 있다. 예술에 대한 전통적인 이해방식, 그러니까 예술에 대한 정의, 예술작품에 대한 이해, 예술교육의 목표 등의 논의가 이러한 시대상에 따라 빠르게 변하고 있는 것이다. 이 글에서는 예술을 통한 인간 이해라는 관점아래, 우리 시대에 통용될 수 있는 하나의 예술관을 제시하고자 한다. 특히 우리의 예술교육 현장에서 활용될 수 있는 이론적 틀과 방향성을 제시하려는 것이다. 필자는 에른스트 카시러(Ernst Cassirer 1874-1945)와 수잔 손탁(S. Sontag 1933-2004)의 견해에 기대어 이러한 생각의 얼개를 꾸며보고자 한다. 예술에 대한 고전적인 정의를 탈피해서 새롭게 예술을 정의하고, 인간의 삶에서 예술과 상징의 관계를 해명하며, 예술작품에 대한 전통적인 이해방식을 넘어서서 새로운 형태의 예술작품 감상법을 제안하고자 한다. 이러한 일련의 논의는 변화된 시대상에 맞추어 예술을 이해하고, 공교육 현장에서 예술교육의 방향성을 확립하는 데 나름의 기여를 할 수 있을 것으로 기대한다. The perspective of art is changing according to socio-cultural circumstance in diversified society and postmodern society. If we will focus on education of art, the speed of change is more rapidly. That change implied that definition of art, understanding of art, and purpose of education of art and so on. The purpose of this article is aims to suggest a viewpoint of art able to communicate with our society in terms of understanding of human being through art. I will apply this view to our public educational fields from elementary school to high school. We will deal with this idea depend on Ernst Cassirer and Susan Sontag's theory of art. It is important to understand physiognomical viewpoint in Cassirer and to know erotics of Art in Sontag. And in this paper, we will discus a new definition of art and relation of art and symbol in human life and suggest a way of seeing of works of art. Through this study, we will finally suggest a new direction of our public education of art.

문화예술교육의 교수-학습 방법으로서 ‘통합’과 ‘융합’ 개념 탐색: 실험적 소고

곽덕주,박혜연 한국문화교육학회 2021 문화예술교육연구 Vol.16 No.1

The paper aims to show how the concepts of integration and convergence are internally related to the nature of arts, especially their principles of creation, and to clarify the main principles of pedagogical principles of teaching and learning in arts and culture education, which can be employed in the actual practices of teaching arts and culture education in Korea. This is expected to greatly contribute to improving the quality of teaching practices in arts and culture education in Korea. To do so, we first comprehensively and critically examine how the concepts of integration and convergence have been understood in the discourse of arts and culture by researchers in Korea. Here we can see how the conceptual confusions and un-clarities have derailed the directions of arts education practice in Korea. And then we attempt to categorize three different kinds of arts’ ways of thinking, by drawing upon Gilles Deleuze’s and Susan Langer’s theories of arts, to show how they can be interpreted as three distinctive ways of integrating and converging our everyday experiences into meaningful forms and events. Lastly, the paper tries to clarify the pedagogical principles of teaching and learning in arts education practice in Korea by applying the examined concepts of integration and convergence to the three dominant approaches to arts education in Korea: cross-arts integration approach, knowledge related arts education and, community related arts education. 본 연구는 우리나라 문화예술교육의 실천에 질적인 차이를 가져다 줄 교수-학습 방법의 원리를문헌 연구에 기초한 논증의 방식으로 탐색하는 데 일차적 목적이 있다. 이를 위해 ‘통합’과 ‘융합’의 개념이 예술의 창작 원리와 어떻게 내적으로 연결되어 있는지를 보여줌으로써, 예술의 고유한 사고가 작동하는 방식으로 이루어지는 ‘통·융합적’ 문화예술교육의 실천적 원리를 제안하고자 한다. 연구 문제로는 첫째, ‘통합’과 ‘융합’ 개념이 우리나라 문화예술교육 담론에서 어떻게 이해되고 적용되는지를 비판적으로 검토한다. 둘째, 예술적 창작 활동에 고유한 세 가지 수준의 예술 언어를 다소 조작적으로 구분하여 기술함으로써 예술이 우리 경험을 어떻게 ‘통합’하고‘융합’하는지 살펴본다. 셋째, 이를 토대로 예술의 고유한 힘으로서 ‘통합’과 ‘융합’이 현재우리나라에서 실행되는 세 가지로 구분되는 대표적인 문화예술육의 접근들에서 어떻게 의미 있게적용되고 또 작동될 수 있는지 기술한다. 결론적으로 본 연구는, 예술장르 간 통합, 교과연계통합, 그리고 지역연계통합 예술교육에서 세 가지 차원의 예술 언어가 어떻게 각각 다르게 연루되는지체계적으로 보여줌으로써, ‘통합’과 ‘융합’ 형태의 교육적 경험을 창출하는 문화예술교육의실천적 방법 원리를 시론적으로나마 제안한다. 이것은 문화예술교육 강사들의 프로그램 기획 및실행의 질적 향상에 기여할 것이다.

중화민국 후기 미술정책과 미술학교의 대응 발전: 1927-1949

이보연 한국예술교육학회 2018 예술교육연구 Vol.16 No.1

This article reviews the relationship of two major structures in the late Republic of China, the art policies of the Nationalist Government of China and art schools in relation to the key developments and characteristics of the late Republic of China and the field of art. After the Nationalist Party unified China through the National Revolution in the late 1920s, the party began to establish a powerful governing system. Since then, the revolutionary directions of the early government began to shift towards a ruling direction, and the art policies also shifted from the liberalism of aesthetic education ideologies to the instrumentalism based on the Three Principles of People of the right wing. Such changes influenced the operation and direction of art schools of the late republic. First, the National Art School in Hangzhou was founded during the early establishment of the government, and engaged in art activities reflecting the academic status and age art against the government based on liberalism, however, its activities were oppressed due to the relationship with left wing art. The more traditionalism oriented National Art School in Beiping shifted towards pragmatism due to pressures of the government, but its activities became inactive due to frequent policy changes and the Sino-Japanese War. The art community of the National Central University, which pursued academism based on realism, and the National Art School in Beiping found harmony with the government's literary ruling direction becoming the best art school in the late Republic of China, and as a result, undertook the leading role in establishing a new national art and in the reforming the art community based on the new national art. However, the ruling of art by the Nationalist Government failed to establish a consensus on ideology and the government's level, and such failure lead to the government's biggest achievement, the realistic academism, becoming the Communist Party's spoils from the Chinese Civil War, not the Nationalist Government or the art schools. 본 논문은 중화민국 후기 미술 발전의 대표적 두 기제(機制)인 국민정부의 미술정책과 미술학교의 관계를통해 중화민국 후기 미술과 미술계의 주요 발전 맥락과 성격을 고찰한 것이다. 1920년대 후반 국민혁명을 통해 전국을 통일한 국민당은 이후 훈정을 통해 강력한 통치체제를 마련했다. 그에 따라 초기의 혁명노선은 점차통치노선으로 전환되고, 미술정책 역시 애초에 자유주의 성향의 미육이념에서 우파 삼민주의에 근거한 도구주의 노선으로 변화했다. 이러한 변화는 민국 후기 미술학교들의 운영과 위상에도 다음과 같은 영향을 끼쳤다. 먼저 정부 수립 초기자유주의 이념에 근거해 창설된 국립항저우예전은 정부에 맞서 순수예술의 학술적 위상과 시대예술을 주장하고 예술운동을 전개했으나, 좌익미술과의 연관으로 인해 탄압을 받게 되었다. 전통주의 성향의 국립베이핑예전은 정부의 압박 하에 실용주의 노선으로 전환했으나, 정책의 잦은 변동 및 중일전쟁으로 인해 침체되었다. 반면 사실 기법의 아카데미즘을 표방한 중앙대학 예술계와 내전 시기 국립베이핑예전은 정부의 문예통치 노선과조화를 이루어, 사실상 민국 후기 최고 미술학부로 부상해 새로운 민족미술 수립과 그것을 중심으로 한 미술계재편에 앞장섰다. 그러나 국민정부의 이러한 미술통치는 이념과 정권 차원에서 합의를 이뤄내지 못한 결과, 그 최대 성과인사실주의 아카데미즘은 국민정부도 미술학교도 아닌, 국공내전에서 승리한 공산당의 전리품이 되었다.

태권도 美와 예술의 美에 관해

송일훈(Song Il-Hun),김창우(Kim Chang-Wo),이재학(Lee Jae-Hak),조충현(Jo Chong-Hyun),이동헌(Lee Dong-Heon) 한국체육과학회 2008 한국체육과학회지 Vol.17 No.3

Art is the direct expression which contains human nature, whereas a science is the preparation for deviating deliberately from human nature. On the basis of this logic, Taekwondo is referred to as the composite art of martial arts. Then, according to the detailed investigation, analysis, and discussion of this study, this study could confirm the following implications. That is, the beauty is aloof from the fictitious world which is not related to life, and is not an absolute being. Because the beauty is always related to life, such beauty can be formed. In other words, from the standpoint of art for art's sake, the beauty is weak. That is, as this study mentioned earlier, Taekwondo, as the aesthetics of martial arts, is an excellent movement art. However, Taekwondo, as the aesthetics of martial arts, should be mentioned in category of value, and so is never the problem of truth. Therefore, Taekwondo can be recognized aesthetically from the viewpoint of value theory. Considering the beauty of Taekwondo is not that real beings exist through the physical acts of Taekwondo and so the feature, the beauty of physical acts, is extracted, and then movements are analyzed. As the beauty was mentioned not to be only an objective attribute but to be generated in subjectivity, the beauty is formed by the attitude of subjects in the physical acts of Taekwondo. Therefore, we are not to carve the thought of human problem as subjects. As this study implied to a certain extent with the term of personality beauty up to now, the beauty should be accepted as a value, that is, the aesthetic value. As we examined roughly up to now the history on the classification of arts which ranged from ancient Greece through the Middle Ages, the Renaissance, and the Age of Enlightenment to today, antient times did not considered the possibility that pure arts could form their independent artistry. In such antient times, the art, which is recognized today, were only a part of techne (practice). Such thinking was transmitted to the Middle Ages and the Renaissance as it was. Especially, even though the philosophers of the Renaissance had their own understanding of pure arts, they drew no conclusion in the end. However, the pure art, which had declined during the times of 2000 years, came to reach today by Charles Batteux's effort in mid-eighteenth century. Thus, if Taekwondo is defined as the artistry of martial arts, first, such artistry of martial arts is the accuracy which Taekwondo, as martial arts, has. Second, such artistry of martial arts is the artistry which the beauty has. Third, such artistry of martial arts is Taekwondo as the beauty of artistry and arts. Therefore, such beauty should be recognized as the value of one. Further, Taekwondo as martial arts will be able to be spread widely as the worldwide artistic physical acts.

명화가 유발하는 반응유형이 명화주입효과에 미치는 영향

정보희,배정호 한국유통과학회 2019 유통과학연구 Vol.17 No.1

Purpose - Recently, many theoretical researches suggested that arts-based marketing strategies provide many benefits for marketers to differentiate their brand or product from others. However, there has been little research focusing on consumers’ response types from artwork (artifact-emotion appraisal; A-emotion vs. represented world-emotion appraisal; R-emotion). In order to deepen our understanding of arts-based marketing strategies, we addressed a research question related to how artwork-provoked consumers’ emotional response can impact the perceived evaluation of art infused products. Research design, data, and methodology - To answer the research question, we conducted a pretest and one experimental study. The experimental study was 2(art-provoked response type: A-emotion vs. R-emotion) by 2(emotional valence: positive vs. negative) by 2(produce type: hedonic vs. utilitarian) mixed design. The art-provoked response type and emotional valence were between-subject design and product type was within subject design. For the experimental study, 108 undergraduate students and graduate students were randomly assigned to one of 4 conditions (A-emotion-positive, A-emotion-negative, R-emotion-positive, R-emotion-negative). Participants reported their evaluation of art-infused product and other items for a manipulation check. Results - The major results from the experimental study are as follow. First, participant’s art-provoked response type influenced evaluation of art infused products differently. More specifically, the effect of emotional valence of artwork on product evaluation was not significant in A-emotion. However, in R-emotion, relative to the product with artwork provoked negative emotional valence, the product with artwork provoked positive emotional valence elicited significantly higher product evaluation. Second, product type also affected the art infusion effect significantly. Particularly, the differential effect of participant’s art-provoked response type on product evaluation revealed when it is for a utilitarian product, but not for a hedonic product. Conclusions - Theoretically, the findings of this study expand academic research on art infusion. And the findings also can be extrapolated to generate lots of implication for marketers. In sum, when they plan art marketing strategies to build the favorable relationship with their customers, they need to consider customers’ response type of an infused art and product type.

세계 아트페어 동향과 한국아트페어의 전략

정종효 유럽문화예술학회 2016 유럽문화예술학논집 Vol.7 No.1

The art fair depends on the business type and activities of the g머leη , a key player in the art market under the distribution structure of artworks. Nowadays, the art fair has gained more focus in the 따t market as the 따t market evaluation depends on the gallery performance in the art fair, as well as the positive or negative auction result in the global 따t market. Therefore, it may be said that the emergence of art fair is outstanding in the art market for the recent 10 years. The survey on the Korean art market by the Korea Arts Management Service indicated that the total transaction amount of loc머 galleries reached 275.1 billion KRW in 2012 but decreased to 204.8 billion KRW in 2015 even though the total transaction amount of local art fairs marked 42 billion KRW in 2012 but showed large increase to 62.4 billion KRW in 2015. It is the evidence that the artwork transactions by galleries have expanded the sales network through art f려rs and the 따t market maintained by galleries has attracted collectors and ordinary people for robust art fairs and rapid gro찌7th. Art fairs in the world have set up their positions as a new distribution channel in the global art market and the sales revenue of galleries from art fairs increase even though the sales portion of exhibitions by galleries shrink in the aspect of the gallery business. The concept that a gallery holds an individual or group exhibition through internal planning and sells artworks has lost its meaning and collectors have changed their minds to choose wider range of selections rather than narrow range of gallery exhibitions. That is why galleries have sought the breakthrough for their activities from the art fair. In addition, the art fair sells artworks during the event, provides networks for galleries, 따tists , 따t museums and collectors and has taken its root as an influential art event for the 따t culture to be quickly absorbed to the public through the synergy. Another merit of the 따t fair is to expand the 따t market area of the gallery. In P따ticular, it is characterized that countries with weak art market infrastructure or unstable scale and in the economic recession may perform global business beyond the gallery regardless of national or regional boundaries and the 따t fair leads customers worldwide to be within the boundary and utilizes customer base beyond the border. The Korean art market has joined more global art fairs since Jean Art Gallery took part in the FIAC for the first time in 1984 and local art fairs have rapidly increased. Against this backdrop, it is time for one of local 따t fairs to raise its recognition as a global art fair and play a role in vitalizing the Korean art. Here is to mention several key requirements for the local 따t fair. First, the strategy shall be developed for independent organizations and personnel and the expert pool be expanded. Second, it is urgent to secure the database for local and global infrastructure of collectors depending on participating galleries and set up direct management systems. Third, PR marketing strategies by experts sh머1 be e바lanced and contain distinct contents for local and foreign markets. Fourth, the art fair shall overcome its independent features and limited network and enhance functions for converged contents. Last, it is required to provide direct assistance in attracting galleries through realistic marketing strategies for artwork sales and lead a lot of foreign g떠leries. These conditions are prerequisite for setting up long-term strategy and specific vision of the 않t fair and it is important whether collectors visit art fairs and galleries show their willingness to partlclpate in.

Art Collaboration between Companies and Artists and the Attraction of Urban Brands

강석태,강형철 인하대학교 다문화융합연구소 2022 다문화와 교육 Vol.7 No.2

Art collaboration is for artists to create new added value, and individuals, companies, and countries create artistic business opportunities through creative collaboration at the boundary between technology and art. Places where exhibitions and art are held have become famous, increasing the value of urban brands and becoming tourist destinations. As a research method, the phenomenon of art collaboration was studied through literature and case studies. You can see the collaboration cases of Uniqlo and MoMA Gallery, Louis Vuitton and Jeff Koons, and Lee Woo-hwan and Chateau-Mutong Wine as convergence exhibitions and businesses of domestic and foreign companies and arts. It can be seen that the collaboration research between companies and arts through KOTRA's matching of companies and arts, Sejong Center installation art, Seongsu-dong non-mainstream art street culture, and Arttainer pop-up store can be a unique way of attracting. As a result of the study, the development patterns of domestic art collaboration are as follows. First, national-led social values and art collaboration contain social values such as eco-friendly and upcycling, and are mainly led by KOTRA institutions. Second, companies combine ABSOLUT companies and eco-friendly special paints to convey the public message of sustainability to the public as art, and third, individuals prefer non-face-to-face lounges and private spaces in luxury hotels where artists' works are displayed in order to have life-shot attractions. In conclusion, the artist drew the conclusion that the existing value of exhibition and sale of works can create an art collaboration synergy value that strengthens the artist-centered urban brand attraction through the industrialization of art collaboration.

절대자를 만나는 예배로서의 미술 : 신학적 미학을 통한 오의석 작가의 스토리텔링

이소명 ( Somyeong Lee ) 기독교학문연구회 2018 신앙과 학문 Vol.23 No.2

This dissertation elevates creative art activities of a Christian artist, which is expressed in the form of a profession of faith to God, into ‘Art Worship’ or ‘Art as a worship to God’. This attempt may provoke many theological controversies, but for Christian artist, this attempt is to expand diverse ways to worship God by systematizing Art Worship. Christian art is the response of an artist to the calling of the absolute being. In this aspect, Art Worship involves three aspects.Firstly, it is based on the understanding of theological aesthetics and aesthetic theology. Theological aesthetics opens the new possibilities for Christianity belief system to the point where imagination, beauty, and aesthetics elements can work as a passage to a revelation of God. Secondly, Art Worship is integrated with truth, goodness and beauty, which are ontological attributes of the absolute being. Art Worship leads the truth to beauty in art and to goodness as a daily worship in real life. These ontological characteristics of the absolute being have their own inherent characteristics and intermingle to each other, creating another diverse and unpredictable aspect. Lastly, Art Worship creates another new Art Worship that artist, their artworks and viewers involve in the process of its re-figuration. Therefore, this study investigates communicational perspective that asserts Art worship, in which artist’s life and faith is confessed through works of art, is completed in the process of interacting with the audience. In other words, the audience discovers the features of the absolute being expressed by the artist and experience the presence of God. In this process, another Art Worship is re-figured through integration of artists, artworks and the audience. An artist does not express or portray an absolute being itself through Art worship or works of art. It is rather more about extending characteristics of an absolute being to the realm of truth, goodness and beauty, and more about integrated approach with the imagination of the audience.Based on these perspectives stated above, this study thoroughly investigates a case of Oh Ui-Seok. He is an artist who presents the world of artwork with Logos-ism in which the Logos is embodied with the image. His Logos-ism art goes beyond simply converting the Logos into the images, and shows ‘Aesthetics of Embodiment’ by creating artwork based on Logos with the Christian view of the world. In his artworks, an act of art and aesthetic expressions that appear in recognition of the truth lead to holy worship, and in combination with the aesthetic imagination of the viewer, Art Worship is created as a re-figuration process.In conclusion, Art Worship that this study attempts is holy rituals that identify the ontological characteristics of the absolute being and experience the presence of god through worship performed in creative activities of artists. Therefore, Art Worship holds its significance in that it extends the meaning and role of Christian art to a new prospect beyond instrumental use in religion. 본 논문은 기독교 예술가가 신앙고백의 형태로 재현하고 있는 예술적 창작활동을 ‘예배로서의 미술’ 곧 ‘그림예배’로 승화시킨 연구이다. 이러한 시도는 많은 신학적 논란을 제기할 수 있지만, 기독교 예술가의 입장에서는 그림예배의 체계화를 통해 예배의 다양한 통로를 확장하고자 한다. 기독교 예술은 기독교적 세계관에 입각한 예술가가 절대자의 부르심에 응답하는 것이다. 이러한 측면에서 그림예배에는 세 가지 측면을 내포하고 있다.첫째, 그림예배는 미학적 신학과 신학적 미학의 이해를 바탕으로 한다. 신학적 미학은 신앙의 체계에서 상상력과 아름다움, 예술에 담긴 미학적 요소들이 절대자의 계시 통로로 작용할 수 있는 새로운 가능성을 열어준다. 둘째, 그림예배는 절대자의 존재론적 특성인 진(眞)과 선(善), 미(美)가 통합적으로 내재되어 있다. 그림예배는 참된 기준인 진리가 예술의 영역에서 미로 표현되며 삶에서 실천능력으로서 선의 측면인 일상 예배와 연결된다. 이러한 절대자의 존재론적 특성들은 각자의 고유한 특성을 지니면서 동시에 서로 상호 침투하고 내주하여 예측할 수 없는 다양한 면모들을 나타낸다. 셋째, 그림예배는 예술가와 그의 작품 그리고 관람자가 재형상화 작업으로 이루어내는 또 하나의 그림예배를 만들어낸다. 그래서 연구자는 예술가의 삶과 신앙이 작품으로 고백되는 그림예배의 과정이 관람자에게 전달되는 영향과 관람자에 의해 완성되는 소통의 관점 등을 고찰할 것이다. 즉 관람자는 예술가가 표현한 절대자의 특성(진과 선, 미)을 발견하고, 그분의 임재에 들어가는 것이다. 여기에는 작가와 작품, 관람자가 통합된 또 하나의 그림예배가 된다. 예술가는 예배로서의 미술 작품을 통해 절대자 그 자체를 표현하거나 묘사하는 것이 아니다. 절대자의 존재론적 특성을 진과 선, 미의 영역으로 연결하고 관람자의 상상력을 통해 통합적으로 바라보는 관점이다.이러한 그림예배를 바탕으로 오의석 작가의 작품들을 분석하고자 한다. 오의석 작가는 말씀(Logos)이 이미지(Image)로 체현되는 로고시즘(Logos-ism) 작품을 제시한다. 그의 로고시즘 미술은 단순히 로고스를 이미지로 전환하는 것을 뛰어 넘어 기독교 세계관을 바탕으로 로고스에 기초한 작품의 표현과 주제를 통해 ‘체현(embodiment)의 미학’을 보여준다. 그의 작품에는 진리를 인식하면서 나타나는 예술 행위와 미적 표현이 거룩한 예배로 이어지며, 관람자의 예술적 상상력과 결합하여 재형상화 작업으로서의 그림예배를 만들어 낸다.결론적으로 본 연구에서 시도하는 그림예배는 예술가의 창작활동에서 이루어지는 예배를 통해 절대자의 존재론적 특성을 파악하고, 그의 임재로 들어가는 거룩한 예식이다. 그러므로 그림예배는 과거의 종교적 수단과 도구적 의미로서의 예술을 넘어 새로운 기독교미술사적 지평을 확장하는 데 의의가 있다.