지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2011.12
- 수록면
- 175 - 189 (15page)
이용수
초록· 키워드
오류제보하기
This oral history project offered the author the opportunity to discover Kim Hak-su, a painter one seldom comes across when one studies art history only through written sources. He was an artist who, at a time when the demand placed on artists was to explore new visual languages of the future, wanted to remember the past.
He was separated from his family following the division of Korea, and this traumatic experience lastingly shaped the course of his life thereafter. The experience of separation and absence, and the open wound from this experience and memories of what was lost made him go after what was vanishing, rather than seeking changes or novelties. He attempted to create an archive of things whose memories will forever disappear unless he recorded them, and was very rigorous about establishing the accuracy of information he gathered.
This desire to record what is about to vanish eventually became who he was as an artist and as a man. He, for example, started to paint Christian historical paintings documenting his time. Through paintings of this kind, he remembered people of Pyeongyang he could no longer meet and visualized happy moments he had shared with them, thus healing his trauma. He also had hopes that his works will be used as educational materials. In his historical paintings, depicting Joseon customs, Kim Hak-su blends information he gleaned from historical records with what he had witnessed himself as someone who lived in the early part of the 20th century, and what older people he interviewed told him from memory. He combined information from these various sources as though he mixed together different geological strata. In other words, his paintings are interesting as works of memory, more than they are as factual representations of the past. They are compelling insofar as they contain the past as housed and stored in his memory and reveal the relationship between this past and the present, narrating, in sum, a history of remembrance.
He was separated from his family following the division of Korea, and this traumatic experience lastingly shaped the course of his life thereafter. The experience of separation and absence, and the open wound from this experience and memories of what was lost made him go after what was vanishing, rather than seeking changes or novelties. He attempted to create an archive of things whose memories will forever disappear unless he recorded them, and was very rigorous about establishing the accuracy of information he gathered.
This desire to record what is about to vanish eventually became who he was as an artist and as a man. He, for example, started to paint Christian historical paintings documenting his time. Through paintings of this kind, he remembered people of Pyeongyang he could no longer meet and visualized happy moments he had shared with them, thus healing his trauma. He also had hopes that his works will be used as educational materials. In his historical paintings, depicting Joseon customs, Kim Hak-su blends information he gleaned from historical records with what he had witnessed himself as someone who lived in the early part of the 20th century, and what older people he interviewed told him from memory. He combined information from these various sources as though he mixed together different geological strata. In other words, his paintings are interesting as works of memory, more than they are as factual representations of the past. They are compelling insofar as they contain the past as housed and stored in his memory and reveal the relationship between this past and the present, narrating, in sum, a history of remembrance.
목차
I. 머리말
II. 평양과 김학수
III. 역사풍속화
IV. 역사인물화
V. 결론
참고문헌
Abstract
참고문헌 (34)
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UCI(KEPA) : I410-ECN-0101-2014-600-000639337