카자흐스탄 고려인 미술가들의 카자흐 민족문화 부흥에 관한 양가적 태도 고찰

Abstract

This paper aims to examine the ambivalence of Kazakh Koryoin artists toward the revival of Kazakh national culture before and after the dissolution of the Soviet Union. In the Soviet era, artists superficially expressed Kazakhstan based on socialist realism. However, even at this time, some painters, including Mikhail Kim and Boris Pak, used to express the vast Kazakhstan continent as a large module or by reflecting elements of traditional culture. This movement led to Ethnocentrism in Kazakhstan after the dissolution of the Soviet Union, and Koryoin painters also cooperated with it. However, Koryoin was concerned about its identity in a wave of cultural revival in Kazakhstan, which grew stronger after independence. Although there are differences in consciousness depending on the identity that each individual perceives, in general, Koryoin has moved toward meeting the national occasion's needs. Meanwhile, Sergei Kim, Georgy Lee, Aleksandr Ugay, and Leonid Han, who are currently living in the post-Soviet era, wanted to face and reflect on the present situation in Kazakhstan rather than reviving national culture. Although the national identities felt by the artists are different, they have in common that they are concerned about the current situation of Kazakhstan and the direction it should take after independence. Aleksandr Ugay and Leonid Han, influenced by Eurasia among the artists, refused to confine themselves to regional or ethnic frameworks, following the Eurasian cosmopolitanism of the Koryoin in the post-Soviet. Thus, this paper has great significance in that it examines their multi-layered identity and internal and external situation through the works of the Koryoin artist in Kazakhstan.