박생광이 제작한 민족 수난의 역사 관련 작품 분석

Abstract

This paper analyzed works produced based on the history of national hardship among the various topics newly proposed by Park Saeng-gwang since 1977. Korean painting was recognized as a remnant of Japanese painting style that prevailed until the late 1970s, and only some artists maintained its reputation. As Korean society began to open up in the 1980s, social movements to find national identity began, and the art field began to change along with this. In the art field, various experiments were attempted while studying the colors and techniques of national traditions as a way to liquidate Japanese painting. Young artists who sympathized with this boldly sought original coloring beyond the genre. Since 1977, Park Saeng-gwang has published innovative works on traditional folk paintings, folk-related objects, shamanic paintings, Buddhist paintings, and historical events of national suffering. Looking at the components of the work, they ignored Western perspective and perspective methods and used flat-panel molding and color plane division methods in traditional folk paintings, Buddhist paintings, and shamanic paintings.Looking at the dcolors, traditional ‘OBangSaek’(five cardinal colors) were studied and boldly used in the work. In addition, the strong contrast effect of complementary colors in ‘dancheong’(traitional multicolored paintwork on wooden buildings), Buddhist paintings, and shamanic paintings was actively used. This has been an important factor in his original painting since 1977. Technically, unlike the art world, where Japanese ‘Monglongche’ was popular, various techniques were created and used by studying Joseon's court coloring method. The works produced by Park Saeng-gwang at this time are considered great achievements in the history of Korean painting. Park Saeng-gwang has produced works under the theme of the history of pain experienced by the Korean people due to the atrocities of Japanese imperialism in the late Joseon Dynasty since 1982. Representative works include <Jeon Bong-jun> and <Empress Myeongseong>. These works were sublimated into works through Park Saeng-gwang's subjective historical interpretation. Through this, it played a major role in the liquidation of Japanese imperial culture and the restoration of Korea's identity, which was a social problem at the time.