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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2019.7
- 수록면
- 69 - 99 (31page)
- DOI
- 10.46834/jkmcah.2019.07.37.69
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초록· 키워드
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The purpose of this study is to investigate North Korea’s perception toward history by examining how portraits of historical figures in North Korea are produced and utilized on the basis of the postcards collection of ‘Portraits of Great Men(1957)’ published by the Misul Chulpansa in Pyongyang. First of all, Recreating ‘the great men’ s has to be performed with the interpretation and historical research on the era in which they lived. Also, the subjects ideas could influence in choosing the figures for the ‘Portraits of Great Men’ among the numerous historical ones. From this point of view, The figures in the ‘Portraits of Great Men’ could be recreation of the ideal figures of the North Korean society as the artwork.
The ‘Portraits of Great Men’ collection is comprised of eight sheets in a set and printed 20,000 sheets. It contains portraits of half-length figures produced by eight artists centering on Sunwoo Dam and other talented artists such as Lee Quede, Jeong Gwan-cheol, Gil Jinseop, Lee Pal-chan, Ryu Hyun-sook, Oh Tae-gyeong and Ra Chan-geun. The portraits on the postcards were very realistically depicted by the strong influence of Pen Varlen(1916-1990). While he was in Pyongyang from 1953 to 1954 , he taught North Korean painters. In addition, the faces were depicted through several discussion with scholars, and the clothes and official hats were completed based on historical research. It appears that it was produced prior to the 3rd Labor Party meeting in 1956. In other words, these portraits were produced based on the materialistic view of history of Marx and Lenin prior to the sectarian strife of August 1956 and the purging of the Russian sect and coastal sect, and they also reflect the perspective of socialist democracy of North Korean historians. The historical figures selected for the ‘Portrait of Great Men explains not only the historical views of the North Korean regime focusing on Goguryeo but also interest on the Silhak(Practical Learning) scholars, who advocated the importance of science and technology and lived in a transition period from the collapse of the feudal society to in the beginning of capitalism.
These portraits of historical figures, ‘Portraits of Great Men’ were published as postcards in 1957 to easy to carry as well as to elevate a sense of patriotism and victory. in conclusion, it is an attempt for the people to quickly overcome the ruins of war. The other reason to make postcards was convenience for mass reproduction and distribution to be used as a means for exchange with various countries that it had made cultural agreements with at the time. These portraits were not only produced as postcards, but were also used in various events commemorating the historical figures. The ‘Portraits of Great Men’ postcards collection exemplifies how historical figures were changed into visual cultures in the course of constructing North Korean nationalism based on socialist realism in the late 1950s. However, the portraits of these historical figures mostly disappeared from 1967 when the Kim Il-sung totalitarianism went into full swing. From this perspective, this ‘Portraits of Great Men’ postcards collection can be called material that makes it possible to read the changes in historical views, politics and culture of North Korea in the 1950s and 1960s. It is anticipated that this paper will serve as an opportunity to remember that South and North Korea are a single race that share the same history in order to overcome their cultural differences.
The ‘Portraits of Great Men’ collection is comprised of eight sheets in a set and printed 20,000 sheets. It contains portraits of half-length figures produced by eight artists centering on Sunwoo Dam and other talented artists such as Lee Quede, Jeong Gwan-cheol, Gil Jinseop, Lee Pal-chan, Ryu Hyun-sook, Oh Tae-gyeong and Ra Chan-geun. The portraits on the postcards were very realistically depicted by the strong influence of Pen Varlen(1916-1990). While he was in Pyongyang from 1953 to 1954 , he taught North Korean painters. In addition, the faces were depicted through several discussion with scholars, and the clothes and official hats were completed based on historical research. It appears that it was produced prior to the 3rd Labor Party meeting in 1956. In other words, these portraits were produced based on the materialistic view of history of Marx and Lenin prior to the sectarian strife of August 1956 and the purging of the Russian sect and coastal sect, and they also reflect the perspective of socialist democracy of North Korean historians. The historical figures selected for the ‘Portrait of Great Men explains not only the historical views of the North Korean regime focusing on Goguryeo but also interest on the Silhak(Practical Learning) scholars, who advocated the importance of science and technology and lived in a transition period from the collapse of the feudal society to in the beginning of capitalism.
These portraits of historical figures, ‘Portraits of Great Men’ were published as postcards in 1957 to easy to carry as well as to elevate a sense of patriotism and victory. in conclusion, it is an attempt for the people to quickly overcome the ruins of war. The other reason to make postcards was convenience for mass reproduction and distribution to be used as a means for exchange with various countries that it had made cultural agreements with at the time. These portraits were not only produced as postcards, but were also used in various events commemorating the historical figures. The ‘Portraits of Great Men’ postcards collection exemplifies how historical figures were changed into visual cultures in the course of constructing North Korean nationalism based on socialist realism in the late 1950s. However, the portraits of these historical figures mostly disappeared from 1967 when the Kim Il-sung totalitarianism went into full swing. From this perspective, this ‘Portraits of Great Men’ postcards collection can be called material that makes it possible to read the changes in historical views, politics and culture of North Korea in the 1950s and 1960s. It is anticipated that this paper will serve as an opportunity to remember that South and North Korea are a single race that share the same history in order to overcome their cultural differences.
목차
Ⅰ. 서론
Ⅱ. 위인초상화의 제작자들
Ⅲ. 위인초상화의 고증과 제작방식
Ⅳ. 『위인초상화』 엽서집의 제작 배경과 북한의 역사 인식
Ⅴ. 결론
참고문헌
Abstract
참고문헌 (46)
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