‘民畵’의 名稱 分析과 再考 : 야나기 무네요시〔柳宗悅〕의 朝鮮美論을 중심으로 = Name Analysis and Reconsideration of Folk Painting : Centering around Beauty Theory of Chosun of Yanagi Mooneyosi(Yoo, Jong Yeol)

다국어 초록 (Multilingual Abstract)

This thesis aims at the study on the meaning that name to be folk painting has and as to the question, "Aren't there traditional terms related to it?".
Name to be folk painting created by Yanagi Muneyosi has been used up to now without any refusal sense. As the result, that we lost peculiar name that our painting had is author's view. According to the record of the 18th century, custom painting which has deep relation with populace culture was referred to as public painting as drawing that life conditions of populace is drawn. Author considers that there is not unreasonableness, though name to be folk painting written in the record of old literature is used instead of folk painting.
As for the fact that Yanagi used the term, folk painting for the first time, he used name, folk painting, saying that it is not the painting that painters drew by the piece for leaving their own name but it is the painting that they made much at once for the gift of offering of native produce, in the writing, 'beauty of miscellaneous utensil' recorded in 'folk art series'(Book 1) at June in 1927.
As for folk painting that Yanagi bore, paintings which were drawn in native produce of Oos district, temple, shrine, and signboard etc. were called as folk painting. Our painting that he called as folk painting have differentia from the name to be folk painting that he says as the painting which was not drawn for special product of Japan or offering but which decorated court or inside and outside of house.
Folk painting that Yanagi says is miscellaneous utensil of Japan. Then, it is author's view that he handled our painting like miscellaneous utensil is not suitable for the name of our painting. Miscellaneous utensil is the junior product of Getemono that old women of Japan sell. Then, it was made in the course to collect miscellaneous utensil as a kind of cheap product for life.
There is strict difference between folk painting that he says and public painting to be our painting. Because public painting was not drawn in large quantities as title of painting is same but because it is painting by the ordering of orderer or painting for making decoration to be necessary for life.
After 10 years since name of folk painting was used for the first time in 1927, 'technological painting' in Japanese monthly magazine, 'industrial arts' at February in 1937 defined folk painting as painting which was born in people, which was drawn by people and which was circulated by people.
To see only anonymity that there is not signature about folk painting as is in above writing, it may be defined as painting drawn by people. However, in case of ten long life painting which decorated court, there is point at issue, "Can it be regarded as folk painting to be the painting of people which was drawn by people."
It is very important that the name of folk painting showed in this period. Then, I tried to present whether character, Min, people to be used in folk painting may be regarded as character of meaning to be same as character,
Min that we recognize now. But, there is difference from 'Min' which he says in our painting also.
He said "I don't know Korea to look through Korea visit through several times well." in the writing, 'I think about Korean people' written in 1919.
Japan in the period that Yanagi started to thesis on Korea was in the period that it invaded Korea. Then, I tried to cast question as to whether he accepted out painting after understanding it well in the course that he doesn't know the culture and art of colony nations and whether he who didn't have knowledge about Korea used the term, 'folk painting' with sufficient knowledge for painting.
It is usual practice that use of new term experience very prudent choice course regardless of any learning field. But, that he defined term after 10 years since Yanagi used the term to be folk painting for the first time is part that we can see that it was not the result of prudent academic approach or difficult choice though he used folk painting terms for the first time.
According to the record of many literatures, name of custom painting that life of populace was drawn in those days was referred to as public painting. That is, as for public painting, it was written as public painting, as character, Poong was omitted in custom painting with the coinage custom of middle of Korea period when they preferred 2 syllable word as far as possible. But, it is not low in the meaning of vulgar, as is recognized commonly. So, public painting was not used as vulgar painting. In saying the painting sentence in those days, one example that 2 character idiom were sued may be seen everywhere. For direct example, painting sentence of, mountains and waters, many-storied building, person, public painting, grass and insect, ume tree and bamboo, etc. are being fixed only with 2 charavter word. This spelling method is regarded as then coinage custom.
Public painting is what was called by designating goal painting which was used in civilian commonly. Then, it doesn't mean the grade of painting but it is the word to mean custom. To see the literatures at the latter period of Chosun, we can see examples to call custom painting everywhere.
Diverse examples such as custom painting, public painting, public painting etc. are seen.
And, at Jebyoungjoksokhwabyunjeungsel in Ojooyeonmoon -jangjeonsango by Lee, Kyoo Kyoung(1788-1854), public painting are attached in folding screen, hanging picture and wall of middle-class home of our country.
Like this, public painting decorated everywhere in private house.
In addition, in Nokchooijebang of Negakilyeok, tranfigura -tion course of class of a painting and title of a painting for about 100 years from Jeongjo dynasty in 1783 to Kojong dynasty in 1881 is being recorded. To examine record, it can be seen that public painting and paintings at the latter period and last period of Chosun period wre led by king than gentries. It seems that public painting and painting wre presented from the viewpoint to try to understand people.
Concept of public painting may be seen with 2 meanings.
Public painting was used with subjective ordinary word in the meaning of low, vulgar in the dimension of dignity and objective predicate to mean world, common customs, customs, and common practice etc. which are used in the dimension of material.
To compare with traditional painting of the calligraphic school, it is regarded as public painting in the meaning of vulgar and in the concept of custom painting which was drawn much at the latter period of Chosun. This means that only type is same but word meaning has quite different separate concept. From the viewpoint of, 'Sok' in public painting means the dimension of art of drawing or artistic merit of drawing, and meaning of painting.
But, while handling the concept of "Sok' as events in the streets which were welcomed graceless general petty persons who ignored the tradition of theory of painting, miscellaneous affairs of populace, having leisure of aristcrat, dotted landscape of cultivated weaving, and obscene picture that woman's beauty spreads, it started to be defined as vulgar painting. We will have to accept public painting as custom painting which is not vulgar painting but custom painting that life of populace is drawn with then coinage custom.
Fortunately, in recent times, there is the announcement of thesis for the name of folk painting by many scholars and they are presenting various alternatives to be based on name. But, it is real situation that proper alternative of conclusion to substitute for name to be folk painting are now showing. Diverse names such as racial painting, decoration painting, life painting, race painting, and folk painting etc. are being discussed, but they are failing to get out of the category of name to be folk painting.
Author considers that it may be proper to change with the name, public painting which shows in literature than using the name to be folk painting which handled our painting like miscellaneous utensil, through the name analysis of public painting to be our painting.

목차 (Table of Contents)

• Ⅰ. 머리말 = 1
• Ⅱ. 야나기 무네요시의 성장과정 및 사상적 배경 = 5
• 1. 야나기 무네요시의 성장과정 = 5
• 2. 야나기 무네요시의 미의식 = 10
• 3. 야나기 무네요시의 朝鮮美術館 분석 = 16
• 1) 線의 美 = 17
• 2) 비애의 미 = 23
• 3) 민예의 미 = 30
• Ⅲ. 民畵의 槪念과 特徵 = 32
• 1. 민화의 개념과 설정배경 = 32
• 2. 民畵의 特徵과 再解釋 = 38
• 3. 民藝論에 의한 民畵의 名稱 = 44
• Ⅳ. 民畵 名稱에 대한 再조명 = 48
• 1. 광의적 ‘민民’의 개념 = 48
• 2. 다양한 민화의 명칭 = 50
• 3. 俗畵로 보는 見解 = 54
• Ⅴ. 맺음말 = 70
• ◈ 야나기 무네요시(柳宗悅 1889∼1961年) 연보 및 저술 = 75
• ◈ 그 림 목 차 = 78
• ◈ 참고문헌 = 80
• ◈ABSTRACT = 86