청계 정종여의 해방기 작품과 활동: 민족미술론의 수용과 실천

Abstract

Many pervious studies defined the “liberation period” from the liberation in 1945 to the establishment of the single government of South and North Korea in 1948 as a time of political turbulence and conflict, and an absent period of art. However, this thesis attempts to determine this period as the time in history where the first establishment of a new nation and independent art occurred after the end of the colonization by analyzing literature written during the liberation period which was seen as relevant to the theory of national art, and by examining the works of Jeong Jong Yeo(鄭鍾汝, 1914~1984) who moved from South to North Korea in the respect of ‘the enlightenment through art and popularization movement’ and ‘the acceptance of Yoon Hee-soon’s realistic esthetic Immediately after the liberation, the art organizations removed the vestiges of the colonization and Japan, and contended the successions of the traditional art in order to recover the lost identity of national art. However, each organization’s thought on characteristics of nation art and traditional art had great differences, depending on the political postures. Joseon Visual Arts Alliance and Joseon Arts Alliance for where Jeong Jong Yeo worked especially put importance on the enlightenment and popularization of art, and the cover-page illustration for a magazine by Jeong Jong Yeo thoroughly showed his philosophy of enlightenment as an educator. Moreover, Yoon Hee-soon’s realistic aesthetic which says “it has to be a new realism which can boldly stare at the reality” was projected in his drawings of the phases of the liberation time, a time which captured people at the speeches and concert halls, as well as portrait and landscape paintings. Meanwhile, although <KiChukDo(己丑圖)> received great attention by critics at that time, it has not been discussed very much, due to the fact that the art which was made as a reaction of the liberation period did not receive much attention. The existing version of <KiChukDo(己丑圖)> in black and white has the similar images, compositions and subjects with the representative work of Joseonhwa(painting of Joseon), <the front line support of Goseong’s people>(1958), proves how the liberation art continued to the early art of North Korea. The significance of this thesis is finding how liberation art which had actively continued for the establishment of national art has connection with the Japanese colonial era and the art world of North Korea after the division of territories.