한국 여성 예술가의 작품에 나타난 개인서사와 감정에 관한 연구

Abstract

This paper aims to discover korean female artist Chun Kyung-ja(1924-2015)’s art world by analyzing the personal narratives and emotions through ‘Becoming- Animal’ in the her works of art. Chun Kyung-ja is female artist who shows almost 100 years of korea art history from colonial period to modern times. Her art should be noted that it is not only an attempt to change the core of the nationalistic cultural tradition, into women-centered by expressing ‘women’ as women in order to coincide with the trend of restoration of the nationalistic cultural tradition led by the art power of the time, or an artistic achievement due to the artistic spirit of the individual, Chun Kyung-ja, but not borrowing the ism as a power collaborating with the west. As you can see, the Korea art gallery that experienced the colonialism operated as an art authority by combining confucianism (traditional society) which existed as an ideology and the male-centered patriarchy. However, I considered the snake as the main subject matter that reflected Chun Kyung ja’s personal narrative, emotion and the image of the ‘goddess’ after the world trip as ‘becoming-Animal.’ The ‘Becoming-Animal’ of Chun Kyung ja, which started from <SangTae(生態)>, to <The Shadow of AllamandaⅡ(Therianthropic半人半獸)> created an unperceptible-zone by self-deterrence of minority by endlessly escaped the territory, which is a paternity relationship, to the people who are integrated with patriarch. This can be seen as the mental state and art world of Chun Kyung-ja who communicates with or responds to all things in one body. To sum up, “Becomings” are “creations,” but “Becoming-Animal” on the line is a process that ends up being unrecognizable. The “Becoming-Animal” of the Chun Kyung-ja, which begins with a snake, can be seen as a process for “Becoming female,” which is the extreme of all-becoming, creating a perceptual, self-desertion zone out of territory, a paternal relationship dotted with male-centered patriarchal society and power. At the same time, it can be seen as the spiritual(氣)energy and art world of the Chun Kyung-ja, who communicates or responds to everything as a whole. As a result, the ‘Becoming-Animal’ of Chun Kyung-ja, who reflected the personal narrative and emotions of women in the patriarchal social structure centered on men under the colonial rule, can be said to be the process of ‘Becoming-Woman.’