경계에 선 정체성 — 개혁개방 이전과 이후의 중국 조선족 미술 (Multi-identities of Korean-Chinese Artists - Before and after Reform and Open Policy of China)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 23호 / 175 ~ 203페이지
· 저자명 : 목수현

초록

Since Korea and China formed diplomatic ties in 1992, a number of Korean-Chinese have visited Korea to meet their families or have job opportunities. Among them, there are many artists and significant numbers of them communicate with Korean art world through studying in Korea. The thesis attempted to briefly outline the history of Korean-Chinese artists living in China and especially, to examine the relation between Korean art world and the trends after the open policy of China.
Ever since Han, Rak-Yeon, Korean-Chinese art in China has developed for 100 years. Seok, Hui-Man has played a great role in art education in Yenbian and under his educational influence, Lim, Mu-Woong, Kim, Yeong-Ho, Im-Cheon, Jang, Hong-Eul and etc. worked as painters and art educators. Those in their forties and fifties who currently work in Yenbian and Chinese art world are the third generation artists followed by them. They have been influenced heavily on Chinese modern history.
Korean-Chinese art in China have submitted to the flow of China in the socialist regime since 1945. Therefore, artists make artwork, taking their roles in schools and artist groups to which they belong. Oil paintings were produced based on socialistic realism under the close relationship with Soviet Union. Gongbi paintings have been more prevailed than ink-and-wash paintings. based on socialistic realism. The painters mainly worked in national art exhibition, yet the markets were not established. They adopted realistic reproducing techniques and produced topicalized paintings that revealed historical consciousness. Among them, Korean-Chinese had a tendency to choose the materials that appealed the identity of minorities.
However, according to the changes in social systems after the open policy, they began to work in a way to reveal their individuality and it related to the reorganization of art world, so called the establishment of art markets. Along with the changes, Korean-Chinese were much stimulated, staying or studying in Korea after 1992.
Since 2000, their works have stayed out of realistic reproduction and have much less focused on topicalized paintings showing the emotion of Korean-Chinese. In addition, the number of painters who represent individuality has increased. Like Mun, Seoung-Ho, they show a tendency of abstract expressionism or like Choi, Heon-Gi, they are likely to use objets. The tendency of works becomes various while Park, Chun-Ja covers not only Korean-Chinese but minority people in her paintings, in the case of Lee, Cheol-Ho expresses his concerns about multi-identity as Korean-Chinese and etc. They do not try to work only in the Korean-Chinese society as well as expand their activities in Korean and Chinese art world such as Beijing or Shanghai.

영어초록

Since Korea and China formed diplomatic ties in 1992, a number of Korean-Chinese have visited Korea to meet their families or have job opportunities. Among them, there are many artists and significant numbers of them communicate with Korean art world through studying in Korea. The thesis attempted to briefly outline the history of Korean-Chinese artists living in China and especially, to examine the relation between Korean art world and the trends after the open policy of China.
Ever since Han, Rak-Yeon, Korean-Chinese art in China has developed for 100 years. Seok, Hui-Man has played a great role in art education in Yenbian and under his educational influence, Lim, Mu-Woong, Kim, Yeong-Ho, Im-Cheon, Jang, Hong-Eul and etc. worked as painters and art educators. Those in their forties and fifties who currently work in Yenbian and Chinese art world are the third generation artists followed by them. They have been influenced heavily on Chinese modern history.
Korean-Chinese art in China have submitted to the flow of China in the socialist regime since 1945. Therefore, artists make artwork, taking their roles in schools and artist groups to which they belong. Oil paintings were produced based on socialistic realism under the close relationship with Soviet Union. Gongbi paintings have been more prevailed than ink-and-wash paintings. based on socialistic realism. The painters mainly worked in national art exhibition, yet the markets were not established. They adopted realistic reproducing techniques and produced topicalized paintings that revealed historical consciousness. Among them, Korean-Chinese had a tendency to choose the materials that appealed the identity of minorities.
However, according to the changes in social systems after the open policy, they began to work in a way to reveal their individuality and it related to the reorganization of art world, so called the establishment of art markets. Along with the changes, Korean-Chinese were much stimulated, staying or studying in Korea after 1992.
Since 2000, their works have stayed out of realistic reproduction and have much less focused on topicalized paintings showing the emotion of Korean-Chinese. In addition, the number of painters who represent individuality has increased. Like Mun, Seoung-Ho, they show a tendency of abstract expressionism or like Choi, Heon-Gi, they are likely to use objets. The tendency of works becomes various while Park, Chun-Ja covers not only Korean-Chinese but minority people in her paintings, in the case of Lee, Cheol-Ho expresses his concerns about multi-identity as Korean-Chinese and etc. They do not try to work only in the Korean-Chinese society as well as expand their activities in Korean and Chinese art world such as Beijing or Shanghai.

참고자료

· 없음