단종복위사건의 역사화 제작연구 = Making of the History Painting : Restoration Attempt of Prince Tanjong

다국어 초록 (Multilingual Abstract)

This study aims at giving shape to the Resotoration Event of Tanjong through an interpretation of royal authority, the restoration plan of the abdicated king by Zip-hun-Jun scholars led by Sung, Sammun, and the events related with Kumsung royal prince.
The Resotoration Event of Tanjong was planned on the basis of the confucian moral obligation, fidelity and loyalty of that time, that maintained the five-hundred-year-long Chosun Dynasty, and these resulted in struggle, resistance and death. This feature is rather peculiar: it is a natural form of existence, but on the other hand, it is a result of ideologies solely possessed by human being. A human belong is an ecological being who puts ideologies into practice. Nevertheless, it seems that the Chosun people have not expressed this event onto the canvass until hundreds years after its occurrence. Historical paintings are mostly produced on the basis of reasoning Judgement grounded upon individual experience, and of information provided by visual materials. That is, they base on the form of visual experience of an artist. It is for the most part impossible for a painter to be present in historical incidents. No historical event happens as if planned, and to be recorded on the spot. Also, even if the painter knows this fact, the visual sensation of human being is limited and cannot look into every fact. This very fact enables us formalize incidents, an artistic farm to exist forever. Since it is related to a matter of knowing about human being's world, it is an eternal matter and so it is a matter of art.
In order to draw the Resotoration Event of Tanjong, one should imagine that event. This is to be done in the light of the written documents and the traces of the incident. It is executable, yet it deals with disappeared objects and human beings and the change of nature with time. What is more important is, the fact that it is executed by imagination. How can we imagine the Resotoration Event of Tanjong? Given the conditions of painting, where reproducing human beings' activities is impossible, we cannot but split every detail of the event into many scenes and condense them. These condensed scenes should be taken out piece by piece from the documentation of the events-though this documentation is based on abstracted letters, the abilities such as understanding the letters and calling one's attention to the events, arise from one's own expedience-and orally transmitted stories. The letters or document of stones that dwell in one's mind should be put as a visual scene, as form and color. By then, the conditions of present paintings will be revealed, since the way of expression emerges with reference to their way of expression. Therefore, the history in which we've observed the paintings will permeat into paintings repetitiously. Paintings themselves embrace the long accumulated custom throughout its history. This will be more marked when it comes to selecting the way of expression.
I intended to put an emphases on the fact that the process of the Resotoration Event of Tanjong, plotted by the four 사육신 including Sung, Sam-mun, was not occured by instantaneous royalty toward the king, a point what has been ignored so far. In particular, by considering Cho, Sang-chi's behavior, who left the government service right after the Sejo's accession to the throne, and visiting the actual spots of the documented history and the orally transmitted stories such as Sunhung, Youngju, Punggi at Kyungsang Province, I aimed at researching more historical facts.
In the long term, interpreting historical paintings in contemporary art is a very insignificant genre. However, the concept of historical painting has no interest for the populace and artists, through the government-initiated campaign during the modem art era. This was accelerated by the obsolete expression in the paintings. What's more, since the development of cinema television enables to reproduce many historical documents, it is necessary to proceed comprehensive representation of historical space, in addition to a more delicate reading of history. Therefore, a more effective media expression should be executed as well. Photos and slides are used as important auxiliary medium or main medium in art activities, so by utilizing these medium, we could overcome the limit of former historical paintings. This is a matter of recording human activities.

목차 (Table of Contents)

• 1 연구의 목적 및 방법
• 2 역사, 역사화
• 가 역사화의 개념
• 나 한국의 역사화
• 3 단종복위사건
• 가 발생동기
• 나 사건의 진행과정
• 4 작품제작, 분석