견고한 고독의 세계 : Eine vergleichende Studie u¨ber Rilke und Hyon-seung Kim 릴케와 김현승

김재혁 한국독어독문학회 2002 獨逸文學 Vol.84 No.1

Der koreanische Dichter Hyon-seung Kim bekennt sich zu einem erheblichen Einfluß Rilkes auf seine Weltanschauung, insbesondere wegen Rilkes ernsthafter Haltung gegenu¨ber Leben und Kunst. In diesem Zusammenhang steht Kim unter dem starken Einfluß von Rilkes fru¨hen Werken wie Das Stunden-Buch und Das Buch der Bilder. Diese Werke behandeln wichtige Themen, die auch bei Kim ihren Niederschlag finden, das heißt Gott, Einsamkeit und Dichtung. Die Haltung des lyrischen Ichs bei Kim ist der Geba¨rde des lyrischen Ichs in Das Stunden-Buch sehr a¨hnlich. Der russische Mo¨nch in Rilkes Werk spricht aufs Knie fallend vor Gott Gebete, malt Ikonen und schreibt daru¨ber hinaus Verse. Diese fromme Haltung pra¨gt auch die des lyrischen Ich bei Kim. Ferner besteht große A¨hnlichkeit zwischen beiden Dichtern darin, dass die beiden in ihrer fru¨hen Zeit durch Gebet, also aus der Sehnsucht nach Gott, Verse schaffen. Man kann niemals bei Kim von der Einsamkeit im Herbst als literarischer Kulisse sprechen, ohne sich as Rilkes 「Herbsttag」zu erinnem. Trotzdem konnte Kim abda¨mmend gegen Rilkes Einfluß seine eigene Welt dadurch bewahren, dass er an der ihm eigentu¨mlichen Einsamkeit festha¨lt. Sein literarischer Verdienst findet sich dort, wo er mit Hilfe der Dinge und Ausdru¨cke solider Art seine existentielle Einsamkeit zu einem reinen poetischen Thema hat reifen lassen. Kims fester Glaube an die reine Einsamkeit entsprang seit Mitte der 1960er Jahre aus dem Mißtrauen gegen die christliche Gottheit und die fro¨mmelnden Christen. Unter diesen Umsta¨nden hatte er keinen anderen Weg, als nur auf das selbsta¨ndige Ich angewiesen zu sein. Zugleich hat er, wie seine Gedichte 「Absolute Einsamkeit」 und 「Solide Einsamkeit」zeigen, seine Einsamkeit positiv verarbeitet und ihr so einen Sin gegebenletzten Endes zu einer Ewigkeit, anders als Rilke, der auf jeden Fall seine Einsamkeit nur als Vorraussetzung fu¨r das Dichten betrachtet hat. Gerade hier hebt sich die originelle Seite der Einsamkeit von Kim gegen Rilke ab. In Hinsicht der sprachlichen Behandlung grenzen Kims Gedichte der absoluten Einsamkeit an Rilkes Dinggedichte in Neue Gedichte . Dieses Resultat ergibt sich daher, dass Kim seine dichterische Sprache wie ein Steinmetz meißelt, so dass er seine bloße Idee mit den soliden Ausdru¨cken bekleidet. Und dass Kim auf der Suche nach poetisch solider Gestaltung immer wieder auf sprachliche Pra¨chtigkeit und gefu¨hlvolles Pathos verzichtet hat, also dass er nach der "Poetischen Nu¨chternheit" gestrebt hat, bringt ihn noch mehr in die Na¨ch von Rilkes Dinggedichten. Aber Kim kehrte endgu¨ltig zu dem christlichen zuru¨ck, nachdem er Bluthochdruck erlitten hatte. Nach diesem Zwischenfall bereute er, dass er bisher - Gott aus dem Blick verlierend - zu dichterisch geneigt war. Natu¨rlich kann man auch in der literarischen Phase, wo er nur die absolute Einsamkeit verfolgt hatte, eine grundlegende Haltung mit Pra¨gung durch das christliche Ethos finden, Dies bedeutet, dass zu ihm die Einsamkeit eine Art Religion war. Also war seine Einsamkeit ein Prozess des christlichen Selbsterwachens. Wenn man die Tatsache in Betracht zieht, dass fu¨r ihn der Prozess der Einsamkeit eine Forsetzung des Dichtens war, so scheint seine Einamkeit ihr eigenes literarisches Dasein gefu¨hrt, moderne menschliche Bedingungen untersucht, und dadurch fu¨hlten sie sich menschlich gesteigert.

김은국 소설에 나타난 자서전적 요소

김욱동 새한영어영문학회 2007 새한영어영문학 Vol.49 No.1

This article attempts to explore some autobiographical elements in the three novels written by Richard E. Kim: The Martyred (1964), The Innocent (1968), and Lost Names (1970). A diaspora writer, Kim finds his subject matter in the major historical events of Korea. In his first internationally acclaimed novel, Kim draws much on some incidents in his own personal and family history; its protagonist the Reverend Shin, for example, is modelled on his maternal grandfather, the Reverend Hak Bong Lee, who were not only persecuted but also executed by the North Korean Communists. Kim's active involvement with the Korean Army as a liaison officer during the Korean War, as well as the military coup detat led by General Park in 1961, provide material for his second novel. In the third novel, Kim borrows the characters, incidents and settings not only from his family history but Korean history as well. His own childhood experiences under the Japanese colonial occupation and the strong nationalist sentiments of his father, play a pivotal role in the third and last novel. At his best, however, Kim explores universal themes that are far beyond geographical as well as temporal limitations.

김억의 번역론 연구 : 근대문학의 장(場)과 번역자의 과제

김진희(Kim Jin-hee) 한국시학회 2010 한국시학연구 Vol.- No.28

In the beginning of the Korean modern literature since 1910's, Kim Eok played a crucial role as a translator for foreign literature and theory. During the acceptance of foreign literature, Kim realized the importance of translation and he is considered an intellectual who, as opposed to other contemporary translators, performed a bulk of translations from various countries. He was in the lead of balancing content and form, reforming he literary circles of translation in which there was abundance of arbitrary interpretations and content-concentrated translations. However, Kim Eok's translated works have been devalued by reason of erroneous and liberal translation of original works and inapt understanding. Researchers generally examine original and translated texts in tandem, after which they point out problems of the translations and attribute them to the translators' lack of capacity. The study of this paper presupposes that in-depth understanding of translated texts can be carried out only when the theory and practice of translation go in parallel. It argues that the negative evaluation for Kim's translations can be reconsidered through the study of theory. Kim argued for 'creative liberal translation,' and this paper investigates the formation and characteristics of this standpoint. This paper particularly looks into how symbolism, which Kim embraced, influenced Kim's view on translation. The acceptance of symbolism and the theory of translation are discussed in regard to the theory of translation maintained by Bejamin, a German literary critic who lived around the same time, in his book The Task of the Translator. The paper also examines Kim Eok's theory of translation in the sense that the act of translating foreign languages expands and deepens a mother tongue, which provides an opportunity to form and develop the self-identity. Kim's viewpoint on translation, which searches for the nature of poems, found modern poetic language for the Korean poetry, which was possible due to his exploration into language that represents this nature. Translating the western poems in the initial stage of modern literature implies admission and conveyance of heterogeneous culture, beyond simple written text, and creation of new culture. Kim Eok's translated works shows the creativity of cultural translation that is generated at the intersection of internal and external cultures. The literary world after 1920's, via translations, could realize the identity of modern literature by means of dialogue with others, i.e. dialogue between tradition and the West. Furthermore, it could have a foundation in creation of new culture. Along these lines of modern literature, Kim Eok's theory of translation presented ‘creative liberal translation’ and ‘creative translation’ as the task and direction for those who do the translation, including himself. It was an aspect of cultural action that Kim's theory evidently showed through translation.

1930년대 김광주의 상해 체험과 아나키즘 인식

김명섭 ( Myung Seob Kim ) 단국사학회 2016 史學志 Vol.52 No.-

This paper discussed the Korean community in China Shanghai in the 1930s by the novelist Kim Gwang-ju`s recalls. Kim Gwang-ju is a refuge for about 10 years until the 1937 war took place while since moved to Shanghai in 1929 to meet the various figures of the Korean community in Shanghai unfolded cultural activities with the anti-Japanese movement. Even though his shanghai settlement and time of refuge records are seem to inaccurate, but it is a relatively considered as a objective and analytic memoir of his experience. Through this we can know that Kim Gwang-ju associated with the young director of movies, including the various cultural artists of theatrical world in 1930s Shanghai. Through the interchange with the young generation of unconstrained cultural artists who do not want the Japanese domination and the activity of Bohemian Theater Company, he had various experience in poem, conte, play and movie. Of course, theses are based on the great support of leaders such as Kim-Gu, Ahn-Changho and Kim Du-bong who led the Korean Independent Movement in Shanghai. Furthermore, the interchange with anarchists who were active in the ``Namhwa-Federation`` has had a big impact to raise his nationalistic emotion and the spirit of freedom. From the perspective of the Korean modern national movement, the research of Kim Gwang-ju`s life first, additional research materials for his family, especially elder brother Kim Dong-joo is very necessary. Kim Dong-joo is a secret help sponsor of activities of the Anti-Japanese independence fighters in Manchuria, as well as a important person who connected with an agents of a Provisional Government. His life was believed to be the future of course, also we need to study in depth the role and position of the personal hospital. Secondly, it is necessary to examine the local shelter, etc. Activity of Kim Gwang-ju activities in Shanghai. In other words, while Kim Gwang-ju live a long time is needed for local excavations and historical research, such as the Activity where many literary works written by the school and toughness. This is expected to find signs of shanghai, including Kim Gwang-ju Korean culture, artists in the 1930s who exchanges with him.

Considering Kim’s Dual Identity in the Post-colonial Discourse

Kim Hoyeol 한국외국어대학교 영미연구소 2015 영미연구 Vol.34 No.-

It is becoming significant for individuals to find their own individual identities, as the today’s ongoing globalization has become much more complicated. A similar situation occurred when the British Empire influenced the world politically, economically, and culturally in the nineteenth century. In order to grasp human intrinsic identities, my thesis aims to use postcolonial theories to examine characters’ identities in a nineteenth-century British novel, Kipling’s Kim (1901). In Kipling’s Kim, I examine Kim, an Irish boy who experiences racial identity confusion by living in British India. Kim’s identity is ambiguous as his background is complicated: his parents are Irish, Kim was born in India, he was educated in a British school, and he participated in the Great Game. It would prove inadequate to try to see Kim’s identity based on binary oppositions, as Kim’s identity is neither British nor native Indian. Aside from simply being a person named Kim, Kim’s identity consists of being someone who has cultural hybridity. Through the main character of Kim, Kipling suggests that a Brit who understands the local Indian culture and society, as Kim does, would govern India with ease. Overall, Kipling’s Kim elaborates on why or how India should be governed by Britain and also seems to justify the British rule of India. In Kim, Kipling creates the main character of Kim, who has cultural hybridity and whose process of personal growth throughout the novel depicts Kipling’s ideas on how to govern India easily. In order to justify British rule in India, Kipling also depicts how British-Indian society was developed by Britain, also through the character of Kim. Looking into characters’ identities throughout nineteenth-century British novels helps modern readers who live in this complicated world to grasp human intrinsic identities.

김균진의 신학과 신학적 공헌

김명용 연세대학교 신과대학 2009 신학논단 Vol.56 No.-

Kyun Jin Kim is one of very important modem theologians in Korea. He was president of Korean society of systematic theology and is now president of Korean society for Karl Barth's theology. He has served more than 30 years as professor of systematic theology at Yonsei university. He has made a big impact on Korean theology. I. Kyun Jin Kim' theological characteristics 1. Kyun Jin Kim's theology is a theology of the kingdom of God. Although soul salvation plays a big role in Kim' theology, the kingdom of God is the core of his theology. He has written his doctrine of systematic theology in the light of the kingdom of God. It is the purpose of his theology to establish the kingdom of God on the earth. 2. Kyun Jin Kim' theology is a messianic theology. According to Kim, it is important to know that Christ was the messiah. Kim denies that the concept messiah is interpreted only spiritually. He can be a political messiah, although he doesn't want to rule the world with coercive power. He is the messiah who saves not only our souls, but also the world and the earth. 3. Kyun Jin Kim's theology is a holistic theology. He is not interested in a biased theology. He loves holistic theological view. According to Kim, Korean Min Jung theology lacks this holistic view, although it shows us very important field to establish the kingdom of God. Ⅱ. Kyun Jin Kim's theological contributions 1. Kyun Jin Kim's first theological contribution to Korean theology is his five books of systematic theology. He accomplished his doctrine of systematic theology. His five books of systematic theology can be valued in Korean like Church Dogmatics of Karl Barth. 2. Kyun Jin Kim's theology is very academic. His theology is a very high level theology which can compete with european theologies. It is important to know that european theologians should learn from his theology. 3. Kyun Jin Kim's third theological contribution is his translation of many books of J. Moltmann. He translated into Korean the crucified God, Trinity and Kingdom of God, the Way of Jesus Christ, Sprit of life, the coming God etc. 4. Kyun Jin Kim's forth theological contribution is his contribution to the theology of life. He develops a very high level theology of life in Korea.

간단한 인증키 동의 프로토콜인 Kim-Kim-Hwang 방법의 안전성 고찰

김윤정;김영신;황준 서울여자대학교 컴퓨터과학연구소 2004 정보기술논문지 Vol.2 No.-

The Diffie-Hellman Key Exchange scheme can produce a common session key between the two communicators, but its problem is that it makes a man-in-the middle attack possible. To solve problems like these, several protocols have been put forward, and the Simple Authenticated Key Agreement (SAKA) Protocol is among them. Seo-Sweeney suggested a SAKA protocol initially and the protocol has weakness that a malicious 3rd party can masquerade a valid user. Tseng suggested another protocol that advances this problem but this protocol can still be attacked when the messages in key verification phase are identical. Ku-Wang suggested a new protocol that advances this problem. Kim-Kim-Hwang also suggested a new SAKA protocol and confirmed that their protocol has same safeness and better performance compared to the other SAKA protocols. In this paper, we reanalyze the safeness of SAKA protocols and find out that Kim-Kim-Hwang protocol has not only better performance but also better safeness. Diffie-Hellman의 키 인증 기법에 대한 제 3자 공격 (man-in-the middle attack)에 강한 간단한 인증키 동의 프로토콜인 SAKA (Simple Authenticated Key Agreement Protocol)가 제안된 바 있다. SAKA는 초기에 Seo-Sweeney에 의해 제안되었으며 이 방법은 침입자가 중간에 메시지를 가로채서 정당한 사용자임을 가장할 수 있는 단점이 있다. Tseng은 이 단점을 개선한 방안을 제안하였는데 이것도 키 확인 메시지 두 개의 값이 같을 경우 공격을 받을 수 있음이 밝혀졌다. Ku-Wang은 Tseng 방법의 문제점을 개선한 알고리즘을 제안하였다 그리고 Kim-Kim-Hwang은 새로운 SAKA 알고리즘을 제안하고 이것이 기존 SAKA 프로토콜들과 안전성은 동일하면서도 성능이 개선된 것임을 밝힌바 있다. 본 논문에서는 안전성 분석의 재고찰을 통하여, Kim-Kim-Hwang의 방법이 기존 SAKA 프로토콜들보다 성능면에서뿐만 아니라, 안전성 면에서도 우수함을 밝힌다.

1886년 일본망명자 김옥균 유폐의 전말과 그 원인

김성혜(Kim, Sung-hyae) 고려대학교 아세아문제연구소 2015 亞細亞硏究 Vol.58 No.3

갑신정변에 실패한 김옥균 등이 일본으로 망명한 이후, 조선정부는 이들을 역적으로 간주하고 김옥균의 본국 송환을 위해 노력해 나갔다. 이러한 조선정부와 달리, 일본정부는 국사범을 보호해 일본의 인도적 행동을 드러내고 조선과의 협상카드로 김옥균을 이용하고자 했다. 따라서 번번이 일본국내법과 만국공법, 그리고 조일간 범죄인인도조약의 부재를 이유로 조선정부의 김옥균 송환 요구를 거절했다. 그렇지만 일본정부의 김옥균 비호 방침은 오사카사건 관련자들의 김옥균에 대한 회유 모색이 발각되고 조선정부가 장은규와 지운영을 파견해 김옥균을 암살하려 하면서 변화되었다. 이로 인해 김옥균의 일본체류가 일본국내 치안을 불안하게 만들고 외교 분쟁의 빌미를 제공한다는 사실이 표면화 되었기 때문이었다. 그러자 일본정부는 김옥균문제를 해결할 방안을 강구했는데, 공교롭게도 이때 스스로를 지키고자 한 김옥균의 행동이 일본정부를 더욱 자극했다. 일본정부는 1885년까지 망명 국사범의 보호라는 명분과 대조선 정책에서의 활용이라는 실리를 모두 얻고자 김옥균의 일본체류를 묵인했다. 그렇지만 점차 조?청 양국의 반복적인 송환 요구와 일본내 반정부세력과의 연계, 암살자들의 도일 등으로 김옥균을 내치외교의 걸림돌로 판단하게 되었다. 결국 일본정부는 김옥균의 공식적인 신변보호 요청을 계기로 추방을 결정해 오가사라와에 유폐시켰다고 하겠다. The Korean government had constantly promoted the repatriation of political asylum in Japan like Kim Ok-kyun(金玉均) who led a failed coup and fled to Japan. At that time, the Korean government recognized Kim was a threat to the regime and made the feelings of the people disturb. However, the Japanese government opposed the Korean government for they permitted Kim’s residence in Japan. By the way, the Japanese government’s policy had changed because of the discovery of the Osaka plot(大阪事件) with Kim Ok-kyun and an assassin dispatched by the Korean government. The Japanese government had to prevent a coup by the opposition with Kim Ok-kyun or the assassins would kill Kim in Japan. Therefore, the Japanese government had decided on Kim’s deportation from Japan because of the obstacles in diplomacy and sedition. Then Kim had consulted his personal problems with an Englishman belonging to the judiciary of Japan and moved to a hostel of France concession in Yokohama, leaving Tokyo. Kim then sued Ji un-yeong(池運永) in court. In addition, Kim asked for personal protection and asylum in Russia from the Speyer of Russian consul in Japan. However, Kim Ok-kyun’s formal request for personal protection antagonized the Japanese government and made his expulsion one of force. As a result, Kim Ok-kyun was confined to Ogasawara(小笠原) Island.

전후 한국시의 ‘현대성’과 그 계보적 가설 : 김종삼 시를 중심으로

김용희(Kim Yong-hee) 한국근대문학회 2009 한국근대문학연구 Vol.10 No.1

김종삼 시는 한국 현대시사에서 암시와 생략, 절제와 순수로 익히 정평이 나 있다. 이는 1950년대 한국 전쟁 상황이라는 비극적 인식 속에서 본질적 이념으로서의 기의를 상실한 채 시적 징후로서 현실을 형상화할 수밖에 없는 전후 시인들의 시대적 실어증을 내포하고 있다. 이는 김수영과 김춘수, 김종삼을 포함한 1950년대 문학인 전체에 해당하는 사안이다. 이들은 “외국어(일본어)로 사고하고 구성하고 모국어로 그것을 옮”겨야하는 불구적 창작방식의 세대였다. 유려한 리듬과 토속의 능숙한 구사를 원천적으로 제약당했던 세대가 민족 고유어나 민요를 계승할 수 없는 것은 당연한 일이었다. 박재삼이나 박용래와 같은 일부 시인을 제외하고 대부분 시인들이 모더니즘에 경사된 측면은 어쩌면 필연적이라 할 수 있다. 이 가운데서 김종삼은 비극적이고 황폐한 현실 인식, 가난과 소외와 죽음의식, 실존의 문제에 천착하면서 독자적인 시 형식을 보여준다. 불완전한 구문, 자주 급격히 끊어지는 리듬, 논리적 유추를 거부하는 생략과 비약, 여백들. 이는 ‘낡은 언어를 버리고 새로운 언어’를 찾고자 하는 시인의지이다. 세계 인간에 대한 부조리, 폐허 속에서의 부재의식, 피안-순수의 세계를 지향하고자 하는 초월적 낭만의지와 연관되며 릴케 영향 받은 후 실존주의에 대한 심취, 서양문화, 음악에 대한 경도와 연관된다. 이와같은 심취는 다시 미학적 시적 형식으로 육화된다. 1950년대 한국시 모더니즘은 1960년대에 안정적인 구도를 찾아간다고 할 수 있다. 한국시의 새로운 흐름은 소월, 만해에서 페시미즘과 토속적 초월주의, 미당의 전통설화에서의 민속주의, 청록파의 자연주의를 부정하면서 김수영, 김춘수라는 한국 모더니즘의 새로운 국면으로 접어든다. 김수영의 현실부정의 시학과 역동적 시적 주체의 문제, 김춘수의 언어실험 극단에 발생하는 도발적 이미지 충돌과 언어 본질 기능의 천착. 그 극단의 양 갈래 사이에 김종삼이 위치하는 것은 아닌가 한다. 김수영의 대사회적 삶의 태도, 김춘수의 역사허무주의 속에서 언어본질 탐구, 그 사이에 김종삼의 무정부주의적 삶의 한 단면을 생각해 볼 필요가 있다. 1960년대 한국 현대시 모더니티의 정착에서 새로움이 자아 인식, 개인의 발견, 일상적 개인의 추구라 한다면 김종삼 시는 지금까지 한국시에서 일찍이 볼 수 없었던 묘사적 ‘이미지를 통한 상징성’, 개성적 언어형식을 통한 ‘여백과 생략의 심미성’을 보여준다. Jongsam Kim's poetry is well-known for its suggestion, omission, temperance and genuineness in Korean modern poetry history. This has postwar poets' epochal aphasia of representing reality as poetic indication deprived of significance as the essential ideology, within the tragic recognition called Korean war in the 1950s. Such is a case relevant to the entire literary men in the 1950s, including Suyeong Kim, Chunsu Kim and Jongsam Kim. They were the generation of crippled creative method that conceived, composed in foreign language (Japanese) and then put into native language. It was a natural outcome for the generation, which was fundamentally constrained from having skillful command of elegant rhythm and folkways, to unable to inherit ethnic native tongue or folk song. Except for some poets like Jaesam Park or Yongrae Park, it was some what of perforce for most poets to show sides slanted towards Modernism. Jongsam Kim among them shows original poetry form by inquiring into recognition of tragic ruined reality, awareness of poverty, alienation and death, as well as the existent issues. Defective construction, frequent sudden breaks of rhythm, omission and leap refusing rational analogy, and blanks. These are the will of the poet to 'discard old language and search for new language'. After being influenced by Rilke in relation to transcendental romantic volition of heading towards absurdity for cosmopolitans, absent consciousness in the ruins and the world of Nirvana-purity, it was related to the fascination with existentialism, western culture and the degree of music. Such fascination is incarnated again into aesthetic poetry form. It can be said that Modernism of Korean poetry in the 1950s found its stable composition by the 1960s. From Sowol and Manhae, the new flow of Korean poetry approached the new aspect of Korean Modernism with Suyeong Kim and Chunsu Kim, by denying feminism; ethnic transcendentalism; ethnicism within traditional tale of Midang; and naturalism of the Cheongrokpa. Suyeong Kim's poetry of denying reality and theme of dynamic poetic subject, Chunsu Kim's collision of provocative imagery generated from the extreme language experiment and inquiry into the essential function of language. One thinks Jongsam Kim stands in the middle of the two extremes. It is necessary to think about one slice of Jongsam Kim's anarchistic life among Suyeong Kim's anti-social attitude to life and Chunsu Kim's investigation of linguistic essence seen in Historical Nihilism. When the recency was pursuing self-perception, discovery of individuals and ordinary individual in the modernity of Korean modern poetry in the 1960s, Jongsam Kim's poetry shows depictive 'symbolism through imagery' which was never seen in Korean poetry before as well as 'aesthetic appreciation for blank and omission' through his unique linguistic form.

김용준 著 『단원 김홍도』 해제 : 고독한 천재의 눈에 비친 사실주의 화가 김홍도

김미정(Kim, Mi jeong) 근대서지학회 2020 근대서지 Vol.- No.22

이 글의 목적은 김용준(金瑢俊, 1904~1967)의 『단원 김홍도』를 해제하고 김용준의 김홍도 연구가 지닌 미술사적 의의를 찾고자 함이다. 2018년 학계에 처음으로 소개된 『단원 김홍도』는 1955년에 북한에서 출판된 단행본이다. 이 책은 조선회화사 연구서를 통틀어 고전 화가를 개별 작가론으로 서술한 가장 이른 사례의 단행본으로 확인된다. 전체 분량은 51쪽으로, 앞표지는 김홍도의 인장과 신선도(神仙圖)로 꾸며졌다. 15점의 작품 이미지와 함께 수록된 작품해설에는 김용준의 빼어난 문장력과 더불어, 그림에 대한 자신의 감성을 충실하게 묘사하는 수필체 미술사 서술의 진면목이 드러난다. 1955년은 북한 미술사학계에서 비정(比定)한 김홍도의 생년에 따라 김홍도 탄생 195주년이 되는 해였다. 이 무렵 미술사 관련 출판물의 수가 늘어났고 각지에서 수집·발굴된 고서화와 문화유산을 소개하는 전람회도 개최되었다. 북한 미술계는 1955년을 전후해 민족 미술에 관한 인식의 변화와 함께 조선화에 적용할 내용과 형식의 변화를 모색했다. 이에 따라 『단원 김홍도』는 민족문화에 대한 관심이 촉발된 시기에 맞춰, 위인의 업적을 기려 대내외에 홍보하려는 목적에서 출판되었던 것이다. 월북 이후 김용준은 김홍도를 단일주제로 여러 편의 글을 저술했다. 일련의 글에서 그는 김홍도를 애국주의 화가이자, 18세기 사실주의 미술 발전의 핵심적 역할을 담당했던 화가로 평가했다. 또 김홍도의 신선도와 인물, 풍속 그림들의 필법에 주목했다. 김홍도의 인물화에서 인물형상의 조형적 특징을 찾으려고 했던 김용준은 전통 회화기법을 조선화 창작에 직접 적용했다. 그는 유려한 선조(線條)와 담백한 색채로 조선화를 창작해 여러 전람회에 출품하면서 조선화가 전근대적 산물이라고 보았던 1950년대 중·후반 북한 미술계의 인식을 개선하고자 몸소 실천했다. 조선회화에서의 독창성과 사실성 탐구에 집중했던 김용준의 미술사 연구는 1950년대 후반 북한미술이 조선화를 바탕으로 민족 형식의 전형을 확립해나가는데 밑거름이 되었다. The purpose of this article is to briefly describe ‘Danwon Kim Hong-do’ written by Kim Yong-jun (金瑢俊 1904~1967) and to understand the art historical implications of Kim Yong-jun’s studies on Kim Hong-do. ‘Danwon Kim Hong-do’ first introduced to academia in 2018 is a book of Korean art history published in North Korea in 1955 and is confirmed to be the earliest book that describes one of the most renowned classical painters based on an individual writer’s theory among all research papers as to the painting history during the Joseon Dynasty period. The year 1955 marks the 195th anniversary of Kim’s birth based on his birth year presumed by the North Korean art history academia. In this light, the publication of ‘Danwon Kim Hong-do’ apparently aimed to commemorate the great achievements of one of the most noteworthy painters in Korean art history at home and abroad at a time of soaring interest in national culture. Following his defection to North Korea, Kim Yong-joon wrote a number of articles dedicated to Kim Hong-do. In a series of his writings, he appraised Kim Hong-do as a patriotic painter who played a key role in developing the realism in the 18th century. He also noted Kim Hong-do’s brush stroke in his famous paintings, including Immortals, portraits, and customs paintings. Kim Yong-jun, who sought to identify the figurative characteristics of the figures in Kim Hong-do’s portraits, applied the traditional painting technique directly to creating the Joseon paintings. He made sincere effort to improve the awareness of the North Korean art academy in the mid- and late 1950s who found the Joseon paintings outdated as he created some Joseon paintings with elegant brush and plain colors and presented them to several exhibitions. Kim Yong-jun’s art history studies, which focused on seeking the originality and realism in Joseon paintings, served as a foundation for the North Korean art world to establish an exemplary model of national formality in the late 1950s based on the Joseon paintings.