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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 第40號
- 발행연도
- 2015.6
- 수록면
- 53 - 76 (24page)
- DOI
- 10.14380/AHF.2015.40.53
이용수
초록· 키워드
오류제보하기
Oh Yoon (1946-1986) formed Hyeonsil Dongin, a student association, in 1969 arguing the combination of life with art. Oh Woon opposed the Korea’s modernism art that mimics the western art and pursued art that enriches people’s lives focusing on tradition and the public. Oh Yoon created the image of workers and the public with rough and clunky but lines full of vitality. The unique art world of Oh Yoon was based on culture movement among the public in the 1960s including mask dance, Pansori (a dramatic song recital), and Madangguk (one of traditional Korean performance).
The world where national imagination is restored in the order of human society which applies dynamic principle led by the public! It is ultimate art word dreamt by Oh Yoon. To this end, Oh Yoon was inspired by Namsadang performance and Korean Folk Art (Min-Hwa). Madangguk (one of traditional Korean performance) and vulgar painting in the late Joseon Dynasty enabled the initial art style of Oh Yoon, which started from mural movement in Mexico to be developed into a unique engraving art with sense of humor and comic touch.
Ironically, the recognition of information including folklore, play, Min-Hwa and mask dance was the good result of support for Korean traditional music and traditional art led by the nation starting from the late 1950s. In particular, the Cultural Heritage Protection Act announced in 1962 and protection of intangible cultural asset started in 1963 enabled the research and preservation on traditional play and national data. In addition, the nationwide folklore competition contributed to making traditional culture popular among the public. The government support for national traditional culture was part of the national integration policy of the government which took power after the May 16 coup. The national culture movement was expanded and reproduced with the involvement of the private, public and business sectors in the 1960s and 1970s. Therefore, the art of Oh Yoon was looked at in the big picture of Korea’s national movement in the 1960s and 1970s that focused on the restoration of tradition.
The world where national imagination is restored in the order of human society which applies dynamic principle led by the public! It is ultimate art word dreamt by Oh Yoon. To this end, Oh Yoon was inspired by Namsadang performance and Korean Folk Art (Min-Hwa). Madangguk (one of traditional Korean performance) and vulgar painting in the late Joseon Dynasty enabled the initial art style of Oh Yoon, which started from mural movement in Mexico to be developed into a unique engraving art with sense of humor and comic touch.
Ironically, the recognition of information including folklore, play, Min-Hwa and mask dance was the good result of support for Korean traditional music and traditional art led by the nation starting from the late 1950s. In particular, the Cultural Heritage Protection Act announced in 1962 and protection of intangible cultural asset started in 1963 enabled the research and preservation on traditional play and national data. In addition, the nationwide folklore competition contributed to making traditional culture popular among the public. The government support for national traditional culture was part of the national integration policy of the government which took power after the May 16 coup. The national culture movement was expanded and reproduced with the involvement of the private, public and business sectors in the 1960s and 1970s. Therefore, the art of Oh Yoon was looked at in the big picture of Korea’s national movement in the 1960s and 1970s that focused on the restoration of tradition.
목차
I. 머리말
Ⅱ. 1960년대 민족과 민중의 재인식
Ⅲ. 民의 도상, 민중의 전형화
Ⅳ. 민화운동과 오윤의 판화
Ⅴ. 결론
참고문헌
ABSTRACT
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UCI(KEPA) : I410-ECN-0101-2016-650-001764357