박서보의 1970년대 <묘법>과 전통론- 야나기 무네요시와 박서보 사이의 지도 그리기 (Park Seo-Bo’s Ecriture and Tradition in the 1970s: Map Drawing between Yanagi Muneyoshi and Park Seo-Bo)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 18호 / 39 ~ 57페이지
· 저자명 : 박계리

초록

This article attempts to map the differences between the ‘aesthetics of white monochrome’derived from Yanagi Muneyoshi’s theory of folk craft during the period of Japan’s colonial rule of Korea and Park Seo- Bo’s ‘aesthetics of white monochrome’during the 1970s. This article focuses on the ‘Aesthetics of white color’in terms of its relationship to Park Seo-Bo’s Ecriture series of the 1970s.
Among the colors of porcelain works that were mentioned in the 1970s, the white color of white porcelain was judged to be the most beautiful, and the porcelain of the Joseon Dynasty is considered to be the epitome of that beauty, thereby diverging from Yagani’s opinion. Because in describing the porcelain works of the Joseon Dynasty, Yanagi defined the artistic characteristics of Joseon as‘ the beauty of pathos.’ This article further examines the theory of Choi Soon-Woo and Jung Yang-Mo in relation of the ‘Aesthetics of white color’. The beauty of sorrow was not included in the aesthetic theory of the color white as represented by Choi Soon-Woo during the 1960s and 1970s, and various white shades which symbolize abundance rather than deficiency were discussed.
Yanagi’s aesthetics of folk pottery are viewed from the position of the pottery makers, whereas Choi Soon-Woo and Jung Yang-Mo’s artistic analysis derives from the standpoint of the admiring users. From the mid-1960s onwards, the white color of porcelain and the issues of tradition and modernization have been the main topics of discussion among cultural scholars, and Park Seo-Bo has participated actively in such discussions.
Even Kim Hwan-Gi, Choi Soon-Woo and Park Seo-Bo attempted simply to overcome Yanagi’s view rather than abolish it. The complete surmounting of Yanagi’s ‘folk art view’of Joseon art works seems to have been achieved by Jung Yang-mo.
An important point worth emphasizing is that Park Seo-Bo’s Ecriture was achieved by mastering random, anonymous actions repeatedly with scholarly taste. This is because the admiration for ‘white color’ emerges when accepting the tradition of art works on the basis of scholarly taste, and it is also the trend of the Korean arts community’s view of the color white as expressed by Choi Soon-Woo and others. However, Park Seo-Bo added the importance of ‘cultivation of mind’and ‘spirituality’based on the ideology expressed through calligraphy.
Whether Yanagi’s ideas are revived or abandoned permanently, the communality of Choi Soon-Woo, Lee Yil, and Park Seo-Bo is perceived to be advancing into the world market. In the international context, a central issue in the current arts community is that of ‘tradition and modernization’. In the end, this new movement is similar to the discourse on the ‘Korean style democracy’of Park Chung-Hee’s regime.

영어초록

This article attempts to map the differences between the ‘aesthetics of white monochrome’derived from Yanagi Muneyoshi’s theory of folk craft during the period of Japan’s colonial rule of Korea and Park Seo- Bo’s ‘aesthetics of white monochrome’during the 1970s. This article focuses on the ‘Aesthetics of white color’in terms of its relationship to Park Seo-Bo’s Ecriture series of the 1970s.
Among the colors of porcelain works that were mentioned in the 1970s, the white color of white porcelain was judged to be the most beautiful, and the porcelain of the Joseon Dynasty is considered to be the epitome of that beauty, thereby diverging from Yagani’s opinion. Because in describing the porcelain works of the Joseon Dynasty, Yanagi defined the artistic characteristics of Joseon as‘ the beauty of pathos.’ This article further examines the theory of Choi Soon-Woo and Jung Yang-Mo in relation of the ‘Aesthetics of white color’. The beauty of sorrow was not included in the aesthetic theory of the color white as represented by Choi Soon-Woo during the 1960s and 1970s, and various white shades which symbolize abundance rather than deficiency were discussed.
Yanagi’s aesthetics of folk pottery are viewed from the position of the pottery makers, whereas Choi Soon-Woo and Jung Yang-Mo’s artistic analysis derives from the standpoint of the admiring users. From the mid-1960s onwards, the white color of porcelain and the issues of tradition and modernization have been the main topics of discussion among cultural scholars, and Park Seo-Bo has participated actively in such discussions.
Even Kim Hwan-Gi, Choi Soon-Woo and Park Seo-Bo attempted simply to overcome Yanagi’s view rather than abolish it. The complete surmounting of Yanagi’s ‘folk art view’of Joseon art works seems to have been achieved by Jung Yang-mo.
An important point worth emphasizing is that Park Seo-Bo’s Ecriture was achieved by mastering random, anonymous actions repeatedly with scholarly taste. This is because the admiration for ‘white color’ emerges when accepting the tradition of art works on the basis of scholarly taste, and it is also the trend of the Korean arts community’s view of the color white as expressed by Choi Soon-Woo and others. However, Park Seo-Bo added the importance of ‘cultivation of mind’and ‘spirituality’based on the ideology expressed through calligraphy.
Whether Yanagi’s ideas are revived or abandoned permanently, the communality of Choi Soon-Woo, Lee Yil, and Park Seo-Bo is perceived to be advancing into the world market. In the international context, a central issue in the current arts community is that of ‘tradition and modernization’. In the end, this new movement is similar to the discourse on the ‘Korean style democracy’of Park Chung-Hee’s regime.

참고자료

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