중국근대 미술교육에 있어 서양화풍의 유입에 대한연구

장준석 한국조형교육학회 2002 造形敎育 Vol.0 No.19

A study about influx of the west painting style to art education of modern China. Chang, Jun Seok Lin Fengmien(1900~1991) and Hsu Pei hong(1895~1953) was income the educational work and study of art abroad. Lin Fengmien travelled to France in 1919, where for the six month he studied in Dijon. In 1920 he entered the Ecole des Beaux Arts in Paris. The study abroad scheme was proceeding well and in May 1924 a Group of Chinese students including Lin Fengmien held an exhibition in the Palais 여 Rhine in strasbarg. Hsu was award a palace on the educational work and study course abroad. he travelled to Paris in March 1919. In April 1927, having spent eight years in Europe, he return to China. During those eight years he had formed no good opinion of Impressionists and openly said so. Hsu had returned to China with firm views that drawing was the foundation of painting, and set about constructing his curriculum along those line. his own preference remained for 19th Century Academic painting. Some years later he was to take up the Chinese brush again. These two artists on their returned to China were given great power in the direction of art education policy. Before 1949 they were primarily responsible for the path of Chinese art, and there by responsible for the introducing western influence into Chinese art of this century. The one skill all were agreed upon that drawing from life and sketching from nature should be the priority.

한국 현대수묵화(水墨畵)의 회화성(繪畵性)에 대한 연구 - Identity적 관찰(觀察)을 중심으로 -

장준석,Chang Jun-Seok 한국조형예술학회 2005 조형예술학연구 Vol.7 No.-

수묵화는 동양뿐만 아니라 우리 미술을 대표하는 중요한 축 가운데 하나로서 한국 미술의 얼굴이자 현대 미술과도 불가분의 관계를 갖고 있다. 그런데 서양 현대 회화의 다양함이나 실험성, 생경함 등에 밀려 구시대적 유물 정도로 인식되고 있는 듯 하며 , 제대로 된 이론적 바탕을 완벽하게 마련하지 못하고 있다. 현대 수묵화는 한국 미술의 여느 분야보다도 훌륭한 한국성과 예술성 및 정신성을 지니고 있으며 미적인 독창성을 구축하기 위해 노력해야 할 것이다. 이를 위해서는 대상에 대한 진지한 관찰, 수묵화의 여러 특성이나 예술성, 한국인의 삶과 현장성, 또는 그림의 양식에서 나타나는 기호적인 선이나 형상을 바탕으로 한 접근 등이 필요할 것이다. 더 나아가 보다 독창적인 한국의 수묵화를 창출하고 미의 상징성을 확보하기 위해서는 우리의 경험과 시각에서 대상의 본질을 파악하는 것이 무엇보다 중요할 것이다. 이처럼 열악한 한국의 현대 수묵화를 보다 세계적인 미술로 승화시키는 것은 한국 미술의 발전을 위해서도 중요한 문제라 할 수 있다. 한국 미술의 Identity를 확립 하는 것은 곧 한국 미술의 발전을 위해서도 중요한 문제가 될 것이다. This is the one concept of the Korea paintings which defines the korea Art sprite. The line of korea painting is very important. It is impressions, korea artist had mastered the difficult art line of representing movement. That offers the important motive, that is discovery of Identity. this korea painting's line is like to meditation. To meditate is to think and ponder about the same holy truth for many hours on end, to fix an idea in one's mind and to look at it from all sides without letting go of it. That is the purpose behind the greatest of the korean landscape paintings Futhermore that is the purpose Shui-Mo paintings. This is the most important. What the korean value most highly in art. There is something wonderful in this restraint of Korea art, in its deliberate limitation to a few simple motifs of nature. But today, anyone did not interested in this motif. So that Shui-Mo paintings did not concerned too. Therefore, we consider it childish to look for details in pictures and then to compare them with the real world. We masters to acquire such a facility in the handling of brush and ink that write down their vision while their inspiration was still fresh.

中國 近代 美術敎育에 있어 西洋畵風의 流入에 대한 硏究

장준석 한국조형교육학회 2002 造形敎育 Vol.0 No.19

Lin Fengmien(1900-1991) and Hsu Pei hong(1895 -1953) was income the educational work and study of art abroad. Lin Fengmien travelled to France in 1919, where for the six month he studied in Dijon. In 1920 he entered the Ecole des Beaux Arts in Paris. The study abroad scheme was proceeding well and in May 1924 a Group of Chinese students including Lin Fengmien held an exhibition in the Palais oi Rhine in strasbarg. Hsu was award a palace on the educational work and study course abroad. he travelled to Paris in March 1919. In April 1927, having spent eight in he return to China. During those eight years he had formed no opinion Impressionists and openly said so. Hsu had returned to China with that drawing was the foundation of painting, and set about constructing his curriculum along line. his own preference remained for 19th Century Academic painting. Some years later he was to take up the Chinese brush again. These two artists on their returned to China were given great power in the direction of art education policy. Before 1949 they were primarily responsible for the path of Chinese art, and there by responsible for the introducing western influence into Chinese art of this century. The one skill all were agreed upon that drawing from life and sketching from nature should be the priority.

토론 2

장준석 충북연구원 1999 충북발전연구원 학술세미나 Vol.- No.-

20세기 프랑스의 종교 회화와 한국의 종교 회화 연구 - 루오(Georges Rouault) 와 김학수(金學洙)를 중심으로

장준석 유럽문화예술학회 2015 유럽문화예술학논집 Vol.6 No.2

Georges Rouault is taking an interest in the early 1900s, Christianity and Catholicism, which st따t to go Europe of the Christian world, and integrated into their culture and religion and improves naturally, but w ith the Unlike Christianity and Catholicism in Korea itself is fundamen tally different roots. Georges Rouault is Christian in 1913, the philanthr opic spirit and humanity is strong, started to paint in earnest for a pai nting began to attract attention. Compared to Christianity in Korea her e 따t is a situation doesn't started yet. In the early 1900s, artists in K orea at the time of a Christian, westem 따t, 따t stars finally began to open my eyes to education and becoming Chinese in oriental paintings of old customs that seems to imitate. So absorbed or ahead of a p따t of the artists as a focal point who had played a lot of effort to get ou t of here 파‘e dark period of time. A devout Catholic, and ordinary peo ple, Georges Rouault is God in his paintings related to religious spiritu ality had been wanting to occupy the space. This is, perhaps a confess ion that must have been on the human anguish and that he had thoug ht to ask yourself if don't know. He is the working poor, sweet cheek s, Jesus, Jesus and so on the theme digest, but everyone is creative a nd attending distinctive pieces. Georges Rouault like a prostitute or poorer people and a clown, vario us conditions, and to draw characters in situations that are embedded i n it, Christian, contrary to what, though, that the truth, Kimhaksu of p aintings, as well as in the multiple environments for wind speeds of characters in the absolute nature of God the creator and intemal latent in praising the glory of God. The clattering sound of soul in a picture to capture the changes that. Went boldly into canvas. the lifestyle of S outh Korean traditional Kimhaksu Of course, that is Christian and land scape as a style unique, with only a skeletal to go there and originalit y. This is a Christian way of life for being young, irrelevant and not spiritual. Kimhakssu of christianornical art is really ingenious and religious soul like Luo of a picture that have been ringing for in retum for an out-o f-court settlement. 20th century Westem Christian representative paint ers of the Rouault and at the same period of time at the center of Chr istian art in Korea. it’s fortunate is that there is an artist called Kimh aksu.

徐悲鴻의 美術敎育思想에 대한 硏究

장준석 한국조형교육학회 2001 造形敎育 Vol.0 No.18

Bei-Hong, Xu(1895-1953) was one of the best Artist in China. He interested in western art techniques, and studying hard and meeting with contemporary Western artists. He studied to drawing of Western Art and thought that the Chinese art-education is changing to drawing. Maybe, When studying in France Xu absorbed creative ideas hom the Impressionist and Realist, creating a land of painting with strong abjective romantic appeal. He pursuits to harmony western painting to Chinese painting. He wishes to Chinese painting glories. He also acknowledged to succeed for Chinese art-education, insisted to introduced Western painting. But his insistence had many problems. Because Xu violated that Chinese painting has very old tradition. Besides he ignored that Chinese painting differs from Western painting in many respects. In this a point, Xu's insistence was lost of persuasiveness.

황빈홍의 미술론과 가학(家學)교육에 나타난 정체성 연구

장준석 한국초등미술교육학회 2017 미술교육연구논총 Vol.50 No.-

This is the study on the Chinese identity revealed in the home schooling-type education having the nature of art criticism and elementary education by Hwáng Bīn-Hóng, who was a Chinese great painter and theorist making a complete survey of ancient painting theories and maintaining the critical viewpoint. Hwáng Bīn-Hóng is the figure that not only overcame the poor educational environment at the time when undeveloped China was defeated in the Sino-Japanese War of 1894-1895 and the Western cultures were rushing into the it, completed the survey of ancient Chinese painting theories, which were scattered around, and prepared the art theory that he thought such as Xuégŭlún(學古論), Shīzàohuālún(師造化論), etc, and the criteria of art education and art criticism but also made a effort to establish the identity of China at that time to overcome the disease that causes national decay. With the learning by the study that was handed down in a family, he could achieve profound knowledge rather than the people who received the regular art education and lean diverse arts with passion. Owing to this education, he established the identity of today's China and contributed greatly to the development of art by completing the Daehwaron-seo (Great books of Chinese art theory) such as Mĕishùcóngshū(美術叢書). By this study, it was confirmed that Xuégŭlún(學古論), Shīzàohuālún(師造化論), Nèimēĭlún(內美論), etc, which Hwáng Bīn-Hóng emphasized, are the foundation of his art criticism, and the home schooling-type elementary educational form, which he had learned during the period of growth, is the root of them. In addition, it was identified that those tree painting theories were the criteria of Hwáng Bīn-Hóng's art criticism and provided the great help to establish the national identify of China. The art criticism having identity that Hwáng Bīn-Hóng pursued and the home-schooling type elementary art education provided the motive to the society, which was retarded and under chaos, and the art education the motive finding new way out. Although this is the very interesting, there was almost no research on the irregular boarding home stage or home schooling type art education or the research or data on the art criticism and the formation of identify by Hwáng Bīn-Hóng. 본 연구의 목적은 고대 화론을 집대성하고 비평적 관점을 견지하였던 중국의 대화가이자 이론가인 황빈홍의 미술론과 초등교육의 성격을 지닌 가학(家學) 교육에서 나타난, 중국의 정체성을 형성·발전시킨 미술 이론을 분석하고 체계화시키는 데 있다. 먼저 중국 근대 초기 황빈홍의 중국적 정체성과 관련된 전반적인 미술론과 비평적인 활동을 고찰함에 있어서는 관련 연구가 많지 않아서 자료를 근거로 논하였으며, 당시 초창기 미술 이론의 전개 상황과 정체성을 미술교육에 도입하여 보다 현대적 미술로 융화·발전시켜 나가는 과정과 특성을 밝혔다. 황빈홍이 고대화론서를 중심으로 전개시킨 미술론적인 글과 여기서 비롯된 중화민족적인 정체성의 방향과 특징 등을 여러 관련 자료들을 통해 학술화 및 체계화시키는 일은 매우 중요한 부분이었다. 본 연구로 황빈홍은 낙후된 중국이 청일전쟁으로 패배하고 서구의 문화가 급격하게 유입될 무렵에 열악한 교육 환경을 극복하고, 흩어져 있던 중국의 고대화론을 집대성하며, 학고론(學古論)과 사조화론(師造化論) 등 자신이 생각하는 미론과 미술교육 및 미술비평의 기준을 마련하였고, 이를 토대로 망국병을 극복하기 위하여 당시 중국의 정체성 확립에 최선을 다했던 인물임을 밝힐 수 있었다. 또한 그는 가학(家學)에 의한 학습으로 오히려 정식 미술교육을 받은 사람들보다 더 깊은 학식을 갖출 수 있었으며, 열정적으로 다양한 미술을 학습할 수 있었고, 『미술총서(美術叢書)』와 같은 중국의 대화론서를 집대성하여, 오늘날 중국의 정체성을 확립하고 미술이 발전하는 데 크게 기여하였음을 파악할 수 있었다. 본 연구는 황빈홍이 추구하였던 정체성을 지닌 미술론 및 미술비평과 가학 형태의 초등미술교육에 대하여 향후 다양한 연구를 진행하기 위한 이론적·실천적인 일차적 자료와 근거가 되고, 중국 근·현대 미술 이론과 정체성에 대한 보다 깊이 있는 연구 방향의 기초가 될 수 있다는 점에 그 의의가 있다.

형질변환(形質變換, metamorphosis)과 해체적 회화성에 대한 연구 - 아메데오 모딜리아니 회화를 중심으로 -

장준석 유럽문화예술학회 2014 유럽문화예술학논집 Vol.5 No.2

In this thesis, from using the meanings of destruction and deconstruc tion, to distinguish the expressive skill in contemporary art workers ar e arising. Therefore, special methods which are linked in the destructio n styles are selected. As a result, the two different purpose of destruct ion is arising. one is enmity destruction and the other is self destructi on another world, auto destruction or destruction to create. Self-destruction based paintings are clearly different in the purpose of approaching the art work. First of all, they can be auto-destruction. cr eative destruction and metamorphosis destruction. which is linked with the sk피 the material aspect and basic stature, and sign destruction or signifier destruction. which is link with the inner meaning destruction hat is considered as the destruction in the post-modem paintings. so it can be resulted in the changedness of expectation and recognition. Already in 1900 when Paris changed every trick in the academic pain tings. If Picasso and Braque and Modigliani' paintings held themselves aloof from the movement they had initiated, they were probably bette r aware than any of their contemporis of its implications. Already in 1 900 when Picasso came to Paris and Modigliani came to Paris start m etamorphosis and destructive paintings. Because Their' s paintings direc t or non-direct connecting. First of all Theirs' paintings accumulated e xperiment shape and the metamorphosis and destructive. With stsrting the 20the Century, the modem arts spread out the d리i cate conditions taking on a aspect of the repaid progress. As it is call ed a galaxy of author’s appearance and insistence their Ism beginning with the various activities, the every movements like the statement of the school answear the more varied circumstance. While they related t he 따tist of the ages, a member of Ecole De Paris, the exotic group, a nd he had same artistic taste and confirm the value of existence with each other relatively. We can discover these paintings style other selfdestructive methods. so J acques Derrida called the difference meaning i n destruction. These methods are started by Picasso, Braque and Modi gliani’ paintings who has developed the attacking heart in the spectato r ’ emotion.

고검부의 예술사상과 미술 교육에 대한 연구

장준석 한국조형교육학회 2015 造形敎育 Vol.0 No.56

Gaojianfu(高劍父) is a important artist in the field of art education. He was created and led the development of part painting YoungNam(嶺南). His art school is a anti academic and new art education. It is a struggle for nationalism. Painting and ideological formation of Yeungnam(嶺南) composed to contemporary China Art or painting. Gaojianfu(高劍父) progressed China mordern Art and a major change in the philosophy of art and art education academic. Above all, The local schools struggle to education art, seems improvement of the academic Art education on the inside, having Gaojianfu(高劍父) added significance a simple academic art education debate. Art holistic approach to look at the current situation it would be called Western painting and Western art education through representation Artists' Paintings and traditional painting. Like this points, Gaojianfu(高劍父) participate in mordern art and art education. First, Gaojianfu(高劍父) and Yeungnam(嶺南) was the center part hwapa(畵派). He was a deep well versed in traditional painting. That times Chinese painting did not advocate Western art through the Chinese painting. So Yeungnam hwapa and iGaojianfu(高劍父) investigate in the new hwapa(畵派) and art education. Based on this views, A Study on the Gaojianfu(高劍父) ' art education and ideas of the art was progressed. It was established Gaojianfu(高劍父) ' Chinese painting revival Art. He gave many people a lot of art education and modern painting. 본 연구는 중국 영남화파의 대부라 할 수 있는 고검부의 미술 교육과 사상에 대한 것이다. 고검부는 중국의 전통미술과 서양미술의 강점을 보다 실리적인 차원에서 살펴보고 여기에 미술 교육적으로 접근하고자 하였다. 특히 실용성이 높은 공업과도 같은 과학적이고 기능적인측면들을 생활 현장에 접목시킨 미술 교육을 강조함으로써 중국 미술문화의 미래를 새롭게건설하고자 하였다. 그는 상해여자도화자수원(上海女子圖畵刺秀院), 춘수화원(春睡畵院) 등을창설하고, 광동성 제일 갑종공업학교 교장으로 교육 현장에서 일하면서 평소 생각해왔던 공업적인 미술 교육의 장을 실천하였다. 고검부를 중심으로 한 ‘영남화파’에 의해 서양미술과의 융화가 이루어졌는데 고검부는 이러한 미술교육을 추진하는 과정에서 단순하게 미술과 관련된 부분만이 아니라 정치적인 측면과도 융화하여 학교 교육 자체를 근본적으로 보다 현대적으로 변화시키고자 하였다. 이처럼 미술 교육에 많은 관심을 지녔던 고검부의 미술 교육은 당시 위태로웠던 중국의 미술교육이 부흥할 수 있는 계기가 되었다. 그럼에도 당시의 미술교육에 관한 연구로는 대부분 영남화파와관련된 것이며 고검부의 미술교육에 대한 것은 거의 없는 실정이다.

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장준석,김종훈,김광호,장경찬,고준호 한국ITS학회 2019 한국ITS학회 학술대회 Vol.2019 No.11