민중미술의 전통인식에 나타난 탈식민성의 계보 - 백수남의 고구려 사신도 계승을 중심으로

Abstract

This study tried to shed light on the genealogy of the postcoloniality in the traditional recognition of Min-joong Art through the works that succeeded the four gods of Goguryeo-period in Baik Su-Nam. In addition, I wanted to clarify Min-joong Art ambivalent attitude of accepting Western art in terms of traditional succession as a means of resistance to Western culture and means of reproducing it. Min-joong Art resisted Western art in terms of overcoming colonialism, but it maintained the ambivalence of resistance and acceptance of Western art because it actively utilized not only Korean traditional art but also expressionism, surrealism and pop art in the way it produced works that inherited tradition. First, In this ambivalence of Min-joong Art, the succession of Min-joong Art to Goguryeo has special significance in the fact that it was "ethnic community“ rather than "people" that Min-joong Art was the main object of resistance to colonialism. Goguryeo was the most powerful nation in Korean history, developed a self-reliance and advanced culture, and its succession implied postcoloniality as a result of its search for the archetypal unspoiled Korean character. Next, I analyzed Baik Su-Nam's works that inherited four gods of Goguryeo-period, and was able to derive that the ambivalent attitude of Min-joong Art toward traditional succession was fundamentally attributable to the postcoloniality. The fact that Baik Su-Nam took special interest in Goguryeo envoys while exploring Korea's unspoiled colonialism clearly belonged to the genealogy of postcoloniality, in that he inherited Goguryeo art and that the method of reproduction was surrealism, a method that Négritude, the root of post-colonialism, paid attention to Western culture. It is hoped that with the discovery of the genealogy of the postcoloniality in traditional perception of Min joong Art, various aspects of the traditional succession in the history of Korean modern art will be re-lit.