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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.12
- 수록면
- 221 - 248 (28page)
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초록· 키워드
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This thesis is an analysis of the traditional viewpoint on the Museum of the Yi Royal Family who have come to lose the status as a main body and to be degenerated as a stranger through the loss of sovereignty and of being subordinated as a colony. It has also examined whether the group which had become a stranger politically has also examined whether the group which had become a stranger politically has also become a stranger culturally.
First of all, I'm going to reexamine the existing discussion regrading the establishment of the Museum of the Yi Royal Family. The existing investigators have defined that the first museum of our country had been proposed extemporaneously and set up for a king's private hobby life.
However, "The Secret History of the Yi Kings' Palace" strongly suggests that the establishment of the Yi Royal Family's Museum was impromptu proposed only for kings' private hobby.
Even if the establishment of the Yi Royal Family's Museum was proposed upon the accidental occasion of King Soon Jong's moving to Chang Deok Palace and it was section chief of General Affairs Seu E Masoo Goo Ma Hee Ggo, a Japanese that was exclusively in charge of the moving, it may not have been necessary to open the museum to the public by opening the palace to the general populace if it had not been for the foundation of the modern recognition and for the will to realize it on the part of King Soon Jong and the bureaucrats in the court with regard the system of museum which began to be introduced as a part of the policy of enlightenment of inducing civilization after the opening up of the country in 1876.
Of course, if seen in terms of pride, we can interpret the opening up of the palace as a slight to the Yi Dynasty, which can be cited as a representative instance of the phenomenon in which kings become strangers. However, as mentioned in the "the Secret History of the Yi Royal Palace'" we will to pay attention to the fact that even the opening of the palace was not instantly and unconditionally carried out by Japanese pressure.
Even if the remark that "There was a fierce opposition" even if the author of "the secret History of the Yi Royal Palace" was a Japanese proved that there existed a fierce argument criticizing the problem of opening the palace to the public, it has been overlooked during that time.
In order to resolve the fierce opposition like the above, Japan attempted to move the center of discussion from the "opening of the palace" to the "establishment of museum. Therefore, we can judge that the establishment of the first museum of our country was not extemporaneously proposed and carried out.
In the meantime, in terms of modern view point we can interpret that the opening of a museum is not medieval collection, but making it clear that it is directed toward modern public collection making a contribution to academic investigation and social education.
Consequently, it is judged that Japan's authorities concerned in charge of policies at that time concealed the intention of policy aimed at making Korean tradition a stranger systematically and succeeded in eliciting the support of King Soon Jong and of Lee, Wan Yong and his party by surfacing the modern character of a museum.
The museum of the Yi Royal Family were established and operated as a part of Japan's cultural policy.
Accordingly, Japan, authorities concerned with colony projected Korea seen by itself and Korea regulated by itself. Consequently, royal family which used to be the main body in the age of tradition turned to be peripheral and became a stranger and Koreans, who became strangers to Korea began to regulate themselves as strangers through the glance which made Koreans strangers.
This kind of glance was expressed through the exhibition, publication, and directory of the Yi Royal Family's Museum and the Yi Royal Family's Gallery.
If we closely examine the exhibition and publication of the Yi Royal Family's Museum and Gallery. we could confirm that the traditional view of China-centered East Asian scope has been converted into that of Japan-centered East Asian scope which replaced the position of China.
However, despite the above, if we analyze the collections of the Yi Royal Family's Museum, we can find a series of facts which are not clarified by the intention of the central part of Japanese imperialism. The greater part of the collections are not the porcelains Japanese people are fond of, but the traditional paintings and calligraphic works, and the paintings and calligraphic works of the traditional age are equally arranged.
In view of the various circumstances informing that Japanese eye for appreciation of Korean paintings and calligraphic works at the outset when the collections of the Yi Royal Family's Museum was being formed was not so high, it attracts our attention that a lot of renowned traditional paintings and callgraphic works are included in Duk-Su items.
Therefore, we guess that even if Japanese people intervened in the forming of the collections of the paintings and calligraphic works of the Yi Royal Family's Museum, on a working level, they received a lot of cooperation from Koreans and referred to collection of works in terms of the eye for appreciation.
The collections of paintings and calligraphic works faithfully follow the traditional renowned works and the genealogy which were passed on from the age of Chosun, without regard to the manipulation by ideology of the colonialism of Japanese imperialism.
And accordingly, whether the main body intended, or whether the result was obtained without regard to the intention, the tradition of Korean paintings and calligraphic works show that the tradition of them is succeeded to by the collection of the collection of the Yi Royal Family's Museum.
The succession of the tradition through the above collections has become a physical foundation of description of the history of Korean paintings in which Korean national identity has been more emphasized since the main body of the national museum after the liberation of Korea.
There is no doubt about the facts that the pressure from being a stranger was intervened in the birth of the Yi Royal Family's Museum and that the tradition created by the viewpoint of being a stranger has been conveyed to the general public through the exhibition of the Yi Royal Family's Museum.
However, the point that the process of becoming a stranger was not unilaterally carried out in forgetting subjective vacuum, but appeared after it became inflected and transformed variously has been overlooked in the past investigation.
When we say that what is more important in a colony where one is forced to accept the becoming a stranger, is not the transcendental regulation, but the concrete trace of groping for self-identity that can be grasped in th process of becoming a stranger, I think now is the time when we should overcome the dichotomy of looking at the main body which became a stranger in a colonial days and get peripheral, in terms of intention and viewpoint.
In particular, th organization called a museum is not being stuffed, but a living body continuously moving alive. And this can be proved by the reality that the Yi Royal Family's Museum is still alive and breathes.
Therefore, when the foundation of the life is the continuation of the collection, I think that the part of succeeding to tradition through collection is a realm that should be evaluated.
First of all, I'm going to reexamine the existing discussion regrading the establishment of the Museum of the Yi Royal Family. The existing investigators have defined that the first museum of our country had been proposed extemporaneously and set up for a king's private hobby life.
However, "The Secret History of the Yi Kings' Palace" strongly suggests that the establishment of the Yi Royal Family's Museum was impromptu proposed only for kings' private hobby.
Even if the establishment of the Yi Royal Family's Museum was proposed upon the accidental occasion of King Soon Jong's moving to Chang Deok Palace and it was section chief of General Affairs Seu E Masoo Goo Ma Hee Ggo, a Japanese that was exclusively in charge of the moving, it may not have been necessary to open the museum to the public by opening the palace to the general populace if it had not been for the foundation of the modern recognition and for the will to realize it on the part of King Soon Jong and the bureaucrats in the court with regard the system of museum which began to be introduced as a part of the policy of enlightenment of inducing civilization after the opening up of the country in 1876.
Of course, if seen in terms of pride, we can interpret the opening up of the palace as a slight to the Yi Dynasty, which can be cited as a representative instance of the phenomenon in which kings become strangers. However, as mentioned in the "the Secret History of the Yi Royal Palace'" we will to pay attention to the fact that even the opening of the palace was not instantly and unconditionally carried out by Japanese pressure.
Even if the remark that "There was a fierce opposition" even if the author of "the secret History of the Yi Royal Palace" was a Japanese proved that there existed a fierce argument criticizing the problem of opening the palace to the public, it has been overlooked during that time.
In order to resolve the fierce opposition like the above, Japan attempted to move the center of discussion from the "opening of the palace" to the "establishment of museum. Therefore, we can judge that the establishment of the first museum of our country was not extemporaneously proposed and carried out.
In the meantime, in terms of modern view point we can interpret that the opening of a museum is not medieval collection, but making it clear that it is directed toward modern public collection making a contribution to academic investigation and social education.
Consequently, it is judged that Japan's authorities concerned in charge of policies at that time concealed the intention of policy aimed at making Korean tradition a stranger systematically and succeeded in eliciting the support of King Soon Jong and of Lee, Wan Yong and his party by surfacing the modern character of a museum.
The museum of the Yi Royal Family were established and operated as a part of Japan's cultural policy.
Accordingly, Japan, authorities concerned with colony projected Korea seen by itself and Korea regulated by itself. Consequently, royal family which used to be the main body in the age of tradition turned to be peripheral and became a stranger and Koreans, who became strangers to Korea began to regulate themselves as strangers through the glance which made Koreans strangers.
This kind of glance was expressed through the exhibition, publication, and directory of the Yi Royal Family's Museum and the Yi Royal Family's Gallery.
If we closely examine the exhibition and publication of the Yi Royal Family's Museum and Gallery. we could confirm that the traditional view of China-centered East Asian scope has been converted into that of Japan-centered East Asian scope which replaced the position of China.
However, despite the above, if we analyze the collections of the Yi Royal Family's Museum, we can find a series of facts which are not clarified by the intention of the central part of Japanese imperialism. The greater part of the collections are not the porcelains Japanese people are fond of, but the traditional paintings and calligraphic works, and the paintings and calligraphic works of the traditional age are equally arranged.
In view of the various circumstances informing that Japanese eye for appreciation of Korean paintings and calligraphic works at the outset when the collections of the Yi Royal Family's Museum was being formed was not so high, it attracts our attention that a lot of renowned traditional paintings and callgraphic works are included in Duk-Su items.
Therefore, we guess that even if Japanese people intervened in the forming of the collections of the paintings and calligraphic works of the Yi Royal Family's Museum, on a working level, they received a lot of cooperation from Koreans and referred to collection of works in terms of the eye for appreciation.
The collections of paintings and calligraphic works faithfully follow the traditional renowned works and the genealogy which were passed on from the age of Chosun, without regard to the manipulation by ideology of the colonialism of Japanese imperialism.
And accordingly, whether the main body intended, or whether the result was obtained without regard to the intention, the tradition of Korean paintings and calligraphic works show that the tradition of them is succeeded to by the collection of the collection of the Yi Royal Family's Museum.
The succession of the tradition through the above collections has become a physical foundation of description of the history of Korean paintings in which Korean national identity has been more emphasized since the main body of the national museum after the liberation of Korea.
There is no doubt about the facts that the pressure from being a stranger was intervened in the birth of the Yi Royal Family's Museum and that the tradition created by the viewpoint of being a stranger has been conveyed to the general public through the exhibition of the Yi Royal Family's Museum.
However, the point that the process of becoming a stranger was not unilaterally carried out in forgetting subjective vacuum, but appeared after it became inflected and transformed variously has been overlooked in the past investigation.
When we say that what is more important in a colony where one is forced to accept the becoming a stranger, is not the transcendental regulation, but the concrete trace of groping for self-identity that can be grasped in th process of becoming a stranger, I think now is the time when we should overcome the dichotomy of looking at the main body which became a stranger in a colonial days and get peripheral, in terms of intention and viewpoint.
In particular, th organization called a museum is not being stuffed, but a living body continuously moving alive. And this can be proved by the reality that the Yi Royal Family's Museum is still alive and breathes.
Therefore, when the foundation of the life is the continuation of the collection, I think that the part of succeeding to tradition through collection is a realm that should be evaluated.
목차
Ⅰ. 序論
Ⅱ. 李王家博物館의 성립 배경에 대한 재검토
Ⅲ. 李王家博物館 書畵 컬렉션과 他者性
Ⅳ. 李王家博物館 전시활동과 他者性
Ⅴ. 他者로서의 李王家博物館ㆍ美術館의 傳統觀
ABSTRACT
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