시서화가 담긴 사진엽서라는 매체를 통해 읽어낸 제국의 시선 - 최현식,『일제 사진엽서, 시와 이미지의 문화정치학』(성균관대학교 출판부, 2022)을 읽고

노유니아 상허학회 2024 상허학보 Vol.70 No.-

공예라는 전통과 캐논의 성립: 고미술과 미술공예

노유니아 국립문화재연구원 2020 헤리티지:역사와 과학 Vol.53 No.3

This study examines the process of Korea’s acceptance of the concept of Art Craft through research on ancientremains and relices (朝鮮古蹟調査) and a series of projects undertaken by the Japanese Government-General ofKorea, and the traditions and canons of craft established in the process. Crafts defined in law referred to fineand exquisite techniques for creating antiques, or genres of art such as painting or sculpture. The Yi Royal FamilyMuseum and the Museum of the Japanese Government-General of Korea spearheaded the popularization of theterm “Mi-sul-gong-ye (Art Craft, 美術工藝).” The artworks displayed in these two museums visually embodied pasttraditions. In general, the term “craft” was frequently used to refer to ancient art, and crafts specifically becametraditions to be protected and conserved by designation as legal treasures for display in museums. The establishmentof traditions and canons of craft exerted a great influence on crafts produced during this era. The cultural policiesand imperial tastes of Japan played a crucial role in this process. In previous research, scholars divided the concept of craft in the modern era into two categories: industrial craftand art craft. However the so-called “art craft” is not a homogeneous category. It includes both ancient art (antiques)and the pieces made in modern age. Ancient art became canonized and the basis of contemporary production. Moreover, features of contemporary craft were diverse. By subdividing concepts of art and crafts, which havehitherto been discussed collectively, this study will serve as groundwork for accurately understanding “inventedtraditions” and features of modern craft.

이왕가(李王家)의 은공예품, 이화문 봉보니에르에 관한 시론

노유니아 명지대학교(서울캠퍼스) 인문과학연구소 2024 인문과학연구논총 Vol.45 No.2

본 연구는 이왕가의 유물 중, 이화문 봉보니에르에 주목한다. 봉보니에르는프랑스어로 ‘작은 사탕을 넣기 위해 만든 용기’를 의미한다. 근대기 일본 황실에서는 연회에 초대한 사람에게 주기 위한 답례품으로 은제 봉보니에르를 만들었으며, 왕공족이 된 이왕가의 구성원도 같은 맥락에서 여러 차례 봉보니에르를제작했다. 이왕가 구성원들의 결혼, 출산, 장교 임관 등을 기념하여 주문제작한봉보니에르가 궁내청, 후쿠이시립 향토역사박물관, 가쿠슈인대학사료관 등에 소장된 것이 확인된다. 이들 중 일부는 한국의 박물관에도 동일한 것이 소장되어있으므로 교차 연구가 필요하다. 봉보니에르 연구를 통해 이왕가의 일원들이 일본 황실의 왕공족으로서 영위했던 생활상을 엿볼 수 있으며, 근대 금속공예사서술의 공백을 채워나갈 수 있을 것으로 기대할 수 있다. 동일한 유물을 소장하고 있는 기관끼리의 협력, 한국과 일본 연구자들간의 정보 공유가 요구된다. This study categorizes the bonbonnieres featuring Ihwamun, the Seal of the Yi royal family, based on their collections of museums in Korea and Japan, and discusses the background of their production. Bonbonniere is a French word meaning "container for small candies". In modern Japan, the imperial family made silver bonbonnieres as gifts for guests at banquets. The Yi royal family, who belonged to the Japanese imperial court, also crafted bonbonnieres to commemorate marriages, births, and officer appointments. They can be found in the Imperial Household Agency, the Fukui City Museum of Local History, and the Gakushuin University Museum of History. Some of them are also held in museums in Korea, so cross-study is essential. The study on the bonbonnieres featuring Iwhamun provides a glimpse into the lives of the members of the Yi royal family within the Japanese imperial court and is expected to fill the gap in the narrative of Korean modern metalworkers. Cooperation between institutions that hold the same artifacts and the sharing of information among Korean and Japanese researchers are necessary.

[서평] 근대 일본 사진의 공무 수행을 어떻게 읽어낼 것인가, 이항관계에서 벗어날 때 비로소 보이는 것들 <김계원 저, 사진 국가 19세기 후반 일본 사진(들)의 시작 (현실문화, 2023)>

노유니아 일본사학회 2023 일본역사연구 Vol.62 No.-

서구를 향한 일본미술 선전: 독자성과 오리엔탈리즘

노유니아 서울대학교 일본연구소 2019 일본비평 Vol.- No.20

This essay aims to understand the causes of the phenomenon, in which the uniqueness of Japanese art is emphasized in the recent Japanese Art Boom, by comparing and analyzing the Japanese art propaganda of Meiji era and today, and to examine the problems that arise thereby. Art in Japan was used as a means to equalize with the West since the Meiji Restoration, and art history as a field of study was also established for external propaganda under the government. Japan has accepted western art terminology and classification through the international exposition, and both the writing of official art history and the planning of largescale overseas art exhibition have strictly followed this standard. On the other hand, in recent years, it emphasizes the unique characteristics of Japanese art to differentiate from the West. The greatest feature of the Japanese Art Boom is that it stresses the uniqueness of Japan. There is an increasing trend to reevaluate the genres that were not included in the system of westernized art history and to use Japanese without translation when introducing Japanese art abroad. Although the way of promoting art has changed completely, the consciousness over the view from the West and the orientalism way of thinking on its basis are still the same. The consciousness over the other's perspective may lead to an obsession with uniqueness or to the alienation of neighboring countries. Also, there seems to be a phenomenon of strategically borrowing authority from the West in the revision of administered art history. All of this can be said to have originated from looking at Japanese art with the eyes of the West rather than the eyes of itself.

아카이브를 통해 본 이완석의 행보 - 여명기의 디자이너, 해방 후 한국미술의 후원자

노유니아 한국근현대미술사학회(구 한국근대미술사학회) 2022 한국근현대미술사학 Vol.44 No.-

Until recently, not much was known about Lee Wan Suk(1915~1969) beyond his operation of the Cheonil Gallery. The revelations that he worked as a designer for Cheonil Pharmaceutical and that he played a key role in various aspects of the Korean art world across art and design occurred when his works and materials(hereafter, the Lee Wan Suk Archive) were donated recently to the National Museum of Modern and Contemporary Art, Korea. The Lee Wan Suk Archive is vast. Lee compiled his portfolio meticulously, including items from the days of Cheonil Pharmaceutical. Matchboxes and stamps from around the world and newspaper articles related to foreign activities were retained as materials for his own reference. The archive also contains a number of works and art books that he acquired through overseas tours, as well as folk crafts collected during his time at the Korean Folk Crafts Institute. The Lee Wan Suk Archive includes posters produced immediately after Korean Liberation from Japan of August 15, 1945, several poster works that were displayed in exhibitions of the Industrial Art Association and overseas tours in 1950~60s, and many other works by fellow artists. Based on the Lee Wan Suk archive, this study traced Lee Wan Suk’s involvement with art. The aim was to organize his life, forgotten until now, chronologically, introducing significant extracts from the archive. Lee Wan Suk was a pioneering designer and a faithful supporter of Korean art. The study revealed and presented his activities, distinguishing between before and after 1945. Lee studied art in Japan and worked as a designer at Cheonil Pharmaceutical after returning to Korea. He participated in many artist groups such as the Industrial Art Association(Korea Visual Design and Crafts Association). In addition to running the Cheonil Gallery and the Korean Fork Craft Institute, Lee played an important role in the Korea Contemporary Art Exhibition tours to Southeast Asia. The study’s conclusions suggest future research topics based on items from the Lee Wan Suk archive. 이완석(李完錫, 1915~1969)에 대해서는 천일화랑을 운영했다는 것 이외에 알려진 것이 많지 않았다. 그런데 최근 이완석이 남긴 작품과 자료(이하, 이완석 아카이브)가 국립현대미술관에 기증되면서, 이완석이 해방 전 천일제약의 도안가로 활동했으며, 해방 후에는 미술과 디자인을 넘나들며 한국미술계에서 다방면으로 활약했던 것이 밝혀졌다. 이완석 아카이브는 상당히 방대하다. 이완석 스스로가 천일제약 시절의 도안 작업을 꼼꼼하게 포트폴리오처럼 만들어 놓았으며, 본인의 참고를 위한 자료로 세계 각국의 성냥갑과 우표, 대외활동과 관련된 신문 기사를 스크랩해두었다. 해외순방을 통해 입수한 작품과 화집, 한국민예품연구소 시절 수집한 민예품도 적지 않다. 해방 직후 제작한 포스터와 1950~60년대의 산업미술협회전과 해외순방전에 출품했던 포스터 여러 점이 확인되며 동료 작가들의 작품도 다수 포함하고 있다. 자료의 연대는 이완석이 일본 유학을 마치고 귀국한 1930년대 후반부터 작고하신 1969년까지 촘촘하다. 이완석 아카이브를 통해 이완석 개인에 대한 연구를 시작할 수 있는 바탕이 마련된 것은 물론이고, 실물로 전해지는 근대 디자인 작품과 자료가 많지 않은 실정 속에서 한국 근현대디자인사 서술의 공백을 메울 수 있을 것으로 기대된다. 본 논문에서는 이완석 아카이브를 토대로, 미술을 둘러싼 이완석 선생의 족적을 추적해 보고자 한다. 초출자료를 소개하는 데 의의를 두고 지금까지 잊혀 있던 이완석의 생애를 연대기적으로 정리하는 것을 목표로 한다. 해방 전과 해방 후로 나누어 일본 유학과 귀국 직후의 활동과 천일제약 시절의 도안가로서의 활동을 소개하고, 미술 단체 활동과 개인 작업/ 산업미술가협회와 관광포스터 제작/ 천일백화점과 천일화랑/ 한국민예품연구소/ 동남아 순방 <대한민국 현대미술전>에서의 이완석의 활약상을 정리한다. 마지막으로 이완석 아카이브를 통해 도출된 추후 연구 과제를 제시한다.

근대 전환기 한국 ‘工藝(공예)’ 용어의 쓰임과 의미 변화에 대한 고찰

노유니아 국립문화재연구원 2021 헤리티지:역사와 과학 Vol.54 No.3

This paper investigates the process of change in the meaning of the term gongye (工藝) (nowadays it means craft) during Korea’s transition to the modern era. The Annals of the Joseon Dynasty (朝鮮王朝實錄) will serve as the basis for the examination of pre-modern usage, and the Korea-United States Treaty of 1882 for the changes that occurred between the translation from Chinese and from Japanese following the opening of the port . After the port opened, the meaning of gongye , which once broadly referred to the wide range of work of people from different fields, was narrowed down to singularly represent the manufacturing industry. Following the example of Japan, the first East Asian country to succeed in modernization, this new meaning of gongye was generally used in the context of embracing Western culture and creating industry. As industrialization emerged as a national mission, and new terminology was needed to express these new concepts, the Chinese characters used by the Japanese to translate Western concepts were directly imported and used without making any changes. Gongye was similar in meaning to gongeop (工業) (nowadays it means industry) at the time, and the two terms were used interchangeably. However, following the Japanese annexation of Korea, the cultural administration of the Governor-General imbued the term with artistic concepts, and gongye was differentiated from gongeop , As such, examining the establishment of terminology and concepts can be helpful for understanding the contradictions and problems of the Korean crafts scene, which were derived from a period in the past called the modern era. 이 글에서는 근대 전환기 한국에서 ‘工藝(공예)’라는 용어의 의미가 변화하는 과정을 문헌을 통해 고찰한다. 근대 이전의 용례는 『조선왕조실록』을 중심으로, 개항 후 중국과 일본을 통해 번역됐을 때 달라지는 각각의 의미는 1882년 조선과 미국이 체결한 조미수호통상조약을 중심으로 살펴본다. 그 외에 『승정원일기』, 『각사등록』 등의 사료와 통감부 문서(1904~1910년), 주한일본공사관 기록(1894~1908년), 1910년 이전에 발간된 잡지와 신문을 대상으로 ‘공예’라 는 용어가 어떻게 쓰였고 변화하게 되었는지를 검토하였다. ‘공예’의 의미는 개항 이후 각기 다른 분야의 사람들이 종사하는 일·직분이라는 넓은 범위에서 제조업·공업과 같은 산업의 한 분야를 나타내는 범위로 좁혀진다. 새로운 의미로 쓰인 ‘공예’라는 단어는 동아시아 국가 중에 가장 먼저 근 대화에 성공한 일본을 본받아 서구의 문물을 수용하고 산업을 일으키자는 문맥에서 주로 사용되었다. 개항과 더불어 산업화가 국가적 과제로 부상하면서 새로운 개념을 표현할 용어가 필요해지자 일본이 서양의 개념을 번역하여 조어 한 한자어를 기표 그대로 수입하여 사용하기 시작한 것이다. ‘공예’는 ‘공업’과 서로 비슷한 의미를 가지고 혼용되었다. 그러나 한일합병 후 총독부의 문화정책을 통해 미술로서의 개념이 부여되면서 ‘공예’는 공업으로부터 분화하게 된다. 이와 같이 용어와 개념의 성립을 살펴보는 작업은 한국 공예가 안고 있는 문제를 이해하고 해결하기 위한 기초가 될 수 있을 것이다.

일본 디자인계에 나타난 ‘신 민예운동’ - 무인양품(MUJI)과 디앤디파트먼트를 중심으로 -

노유니아 동국대학교 일본학연구소 2022 일본학 Vol.56 No.-

무인양품(無印良品/MUJI)과 디앤디파트먼트 프로젝트(D&DEPARTMENT PROJECT)는 20년 넘게 지속가능한 디자인과 관련된 사회적 실천을 유지, 확산 하고 그것을 회사의 이윤 창출로까지 연결하고 있는 일본의 대표적인 디자인 브 랜드다. 두 브랜드는 규모나 사업방식이 상이하지만, 야나기 무네요시가 주창한 민예운동의 후계자를 자처하고 있다는 점에서 공통점을 발견할 수 있다. 본고에 서는 무인양품과 디앤디파트먼트를 일본 디자인계에 나타난 새로운 민예운동으 로 파악하고 두 기업이 탄생하고 성장한 과정을 살펴보았다. 또한 그들이 민예운 동의 한계를 극복하고 자본주의가 낳은 난제들을 해결해나가기 위해 어떤 방식으 로 일하고 있는지를 분석하였다. ‘발견’을 사회 ‘운동’으로 실천해나가는 과정을 민예운동과 비교하여 종합적으로 고찰함으로써, 일본 생활세계에서 일어나고 있 는 구조적 변동의 한 측면을 읽어내고자 시도했다. MUJI (無印良品, established in 1980) and D&DEPARTMENT PROJECT (established in 2000) are leading design brands that have profitably maintained and promoted a social practice of sustainable design for over 20 years. The two brands have different scales and business methods, but share the philosophy of the mingei (folk craft) movement created by Yanagi Muneyoshi. Taking MUJI and D&DEPARTMENT PROJECT as the new mingei movement in Japan, this paper examines their process of incorporation and growth, as well as how they overcame the limitations of the mingei movement and addressed the challenges of capitalism. By comparing the process whereby they used their discoveries to implement the mingei movement as a social movement, this study seeks to understand the ongoing structural reform in the realm of daily life in Japan.

일본 국립디자인박물관 설립을 둘러싼 동향과 논점 ― 새로운 역사서술 방식과 ‘국립’의 사이 ―

노유니아 한국일본학회 2024 일본학보 Vol.- No.140

Issei Miyake, one of Japan's prominent fashion designers, first introduced the idea for the establishment of a national design museum in a column published in a January 2003 edition of the Asahi Shimbun. This marked the beginning of a concerted effort to create a design museum in Japan, which has since been organized and sustained for almost 20 years. This article reflects on the national design museum movement, outlines its features and accomplishments, and analyzes the factors hindering its establishment. Ongoing discussions surrounding the National Design Museum and progress evaluations of narrative work on Japanese design history are also discussed here. Following the inauguration of the 21_21 Design Site in 2007 and the Association for the Establishment of a National Design Museum, “Design-DESIGN MUSEUM” was formally established in 2019 as a general corporation. “Design-DESIGN MUSEUM” was named through previous initiatives including the active leveraging of the NHK TV program to capture the attention of the Japanese public and solicit their feedback. Through local research, creators unearthed Japanese designs across diverse fields. These designs are showcased in exhibitions and broadcasted through the DESIGN MUSEUM JAPAN project. The Japanese design identified in the DESIGN MUSEUM JAPAN project is remarkable in that it deviates from conventional design histories that prioritize products and its significant focus on traditional, local, and everyday values. This approach can be interpreted as an innovative historical narrative that diverges from Western-centric modernity, and aligns with the principles of the Mingei movement initiated by Yanagi Muneyoshi.

근대 디자인 개념과 양식의 수용 - 동경미술학교 도안과 유학생 임숙재(任璹宰)를 중심으로

노유니아 한국미술이론학회 2009 미술이론과 현장 Vol.8 No.-

This thesis is a study on Sook-Jae Lim(1899~1937) and Korean modern design. In modern Korea, design like most cultural advances came from western culture, that was introduced via Japan. So Korean design can be betterunderstood from observing Japanese modern design history. The research on Japanese modern design, however, is not being done actively. Sook-Jae Lim was the first Korean to graduate from the Department of Design at Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). He died at a premature 38 years old, so very little of his works exist. That makes the study about him very difficult. From this perspective, the study aims to examine modern design concepts and styles accepted into Korea from Japan and position Lim as an early design pioneer in Korean design history, by using research of Korean and Japanese design fields in the modern era with focus on Lim and his works. Chapter II researches the process of how the concept of design was formed in modern Japan and how the “Art-Nouveau” style not only represents early modern design but also features Lim's works dominantly. Chapter Ⅲ looks into the process of how the concept of design was formed and which design styles were introduced and applied in modern Korea. Chapter Ⅳ analyzes how Lim's viewpoint on design and his works were developed with observations about the tendency of the Japanese design field and curriculums of the Tokyo Fine Arts School during the period of his college days.