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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2008.12
- 수록면
- 114 - 138 (25page)
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초록· 키워드
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After the disunification, South and North Korean art scenes developed toward an opposite direction corresponding to each own’s confrontational political and social structure. Originated in the artistic theory and aesthetics of Soviet Socialist Realism, so called “Juche Realism” was emerged as a major artistic movement in North Korean art scene. Juche Realism refers to North Korean version of social realism, but was designed exclusively to express the vision of Juche ideology. This study will provide us an opportunity to examine the distinctive artistic nature and stylistic features of North Korean Juche Realism.
When Kim Il-seong’s dictatorship was established, Juche Realism was promoted as a vehicle to deliver Juche Ideology as well as to criticize a submissive and dependent attitude toward stronger nations. North Korean government demanded artists to deliver socialist messages through traditional pictorial languages. Juche artistic theory that emphasizes national spirit and Juche ideology encouraged artists to create nationalistic pictorial expressions. In particular, color paintings were highly promoted because they were considered to draw more consensus and understanding from viewers. Tradition was explored to justify the national identity of North Korea as well as to legitimate the rulership of Kim Il-seong. So called Choson-hwa that depict the lives of common people done in colors came to represent the major painting style in North Korean art.
North Korean paintings in the 1960s mainly deal with leaders of the Rodong party and common people who engaged in various works to construct a new socialist society in North Korea. Paintings produced in that period were mainly done by light, clear, and soft colors. To deliver a message in a more effective way, implicating and summarizing was chosen as a major artistic strategy.
Such pictorial features can be found in paintings that deal with various subjects such as the achievement of Kim Il-seong and the lives of people. In the contents of paintings, the typicality of characters are emphasized.
It is highly important to notice that the subject of each painting genre went through different facets along with the change of social and political environment. During the early stage of Kim Il-seong’s rulership, many artists were demanded to idealize Kim Il-seong’s early life and family. Also, his achievement was depicted in great details. In the 1970s, Kim Il-seong was endowed with a new persona “the Great Father”. Another interesting iconography in the 1970s’ paintings can be found in the representation of women. Previously, women and men were shown in equally given social and political role, however, in the 1970s, roles of women became more submissive, in particular, the motherhood of women was noticeably emphasized. It is important to know that an unequal treatment of women and men cannot be seen in paintings of other Socialist countries. In idealizing the lives of people, children were chosen as a symbol of hope and stability of the nation free from pain and uncertainty.
Since the paintings of North Korea in the 1960s-1970s aimed to spread the ideology and policy of Kim Il-seong’s rulership as well as to educate the viewers, simple and clear pictorial expressions were favored.
When Kim Il-seong’s dictatorship was established, Juche Realism was promoted as a vehicle to deliver Juche Ideology as well as to criticize a submissive and dependent attitude toward stronger nations. North Korean government demanded artists to deliver socialist messages through traditional pictorial languages. Juche artistic theory that emphasizes national spirit and Juche ideology encouraged artists to create nationalistic pictorial expressions. In particular, color paintings were highly promoted because they were considered to draw more consensus and understanding from viewers. Tradition was explored to justify the national identity of North Korea as well as to legitimate the rulership of Kim Il-seong. So called Choson-hwa that depict the lives of common people done in colors came to represent the major painting style in North Korean art.
North Korean paintings in the 1960s mainly deal with leaders of the Rodong party and common people who engaged in various works to construct a new socialist society in North Korea. Paintings produced in that period were mainly done by light, clear, and soft colors. To deliver a message in a more effective way, implicating and summarizing was chosen as a major artistic strategy.
Such pictorial features can be found in paintings that deal with various subjects such as the achievement of Kim Il-seong and the lives of people. In the contents of paintings, the typicality of characters are emphasized.
It is highly important to notice that the subject of each painting genre went through different facets along with the change of social and political environment. During the early stage of Kim Il-seong’s rulership, many artists were demanded to idealize Kim Il-seong’s early life and family. Also, his achievement was depicted in great details. In the 1970s, Kim Il-seong was endowed with a new persona “the Great Father”. Another interesting iconography in the 1970s’ paintings can be found in the representation of women. Previously, women and men were shown in equally given social and political role, however, in the 1970s, roles of women became more submissive, in particular, the motherhood of women was noticeably emphasized. It is important to know that an unequal treatment of women and men cannot be seen in paintings of other Socialist countries. In idealizing the lives of people, children were chosen as a symbol of hope and stability of the nation free from pain and uncertainty.
Since the paintings of North Korea in the 1960s-1970s aimed to spread the ideology and policy of Kim Il-seong’s rulership as well as to educate the viewers, simple and clear pictorial expressions were favored.
목차
Ⅰ. 머리말
Ⅱ. ‘주체 사실주의’의 형성과 ‘주체적 인간 전형’의 구축
Ⅲ. ‘주체적’ 인물 전형의 유형과 성격
Ⅳ. ‘주체적’ 인물 전형의 표현 형식
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (42)
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UCI(KEPA) : I410-ECN-0101-2014-600-000632505