동북아시아 ‘미술’ 수용의 역설적 위상 도치 = The Paradoxical Acceptance of the Art in the East Asian Society

다국어 초록 (Multilingual Abstract)

In the modernist sense of art it is impossible for us to understand the origin of Korean art without referring to the concept of the Japanese Art. Japanese colonial rule reshaped most of the modern systems in Korea and so art and culture has also been subject to a form of filtering through Japan.
The first art education institution in Korea was the Seoul Academy of Calligraphy and Painting. The name of the institution, Seoul Academy of Calligraphy and Painting(京城書畵美術院) gives an indication of the methodology employed in art education by those who were at the forefront of contemporary art in Korea at the time. While connecting traditional calligraphy and painting the name of the institution specifies that their concept of art originated in historical mastery.
When considering the development of art institutions and the construction of art within Korean society it seems like a natural progression or evolution to study traditional calligraphy and painting. However, it is problematic to compare the construction or definition of the concept of modern art in Korea with the development conceived by the west. The viewpoint to grasp calligraphy and painting and art into one horizon was influenced by Japan rather than the West.
Okakura Tenshin left a great legacy of developing modern Japanese art through his work as a bureaucrat of industry ministry and art historian. Tenshin’s research and achievements provided a foundation for Nishida Kitaro's philosophy that established Japanese national identity and played a vital role in formulating the Greater East Asia Co-Prosperity Sphere. In this paper I will try to find the framework to understand the peculiarity of Korean Art today through pursuing the process of establishing Japanese Art.