우즈베키스탄의 무형유산과 고려인 미술가들

Abstract

This study examines the social, artistic, and historical significance of the activities of Koryoin artists engaged in intangible heritage in Uzbekistan. Unlike Kazakhstan (Kyrgyzstan), which has maintained a nomadic lifestyle, Uzbekistan has established a settled civilization centered on ancient cities, leading to the development of applied arts that require long and painstaking work. However, Uzbekistan's intangible heritage soon declined as it had been overshadowed by art that conveyed socialist ideology during the Soviet period. Later, as Central Asia became independent from the Soviet Union, a movement for the revival of intangible heritage was seen in Uzbekistan, and the participation of Koryoin artists in this movement was truly unique. Ahn Vladimir and Nam Nikolai are first-generation Koryoin who suffered forced migration and settled in Uzbekistan. Nevertheless, like the Magay brothers and Pak Yuri, who were born in Uzbekistan, they worked on Uzbekistan's intangible heritage without any sense of alienation and worked to establish it. After studying abroad in Palekh, Russia, Ahn Vladimir led the revival of traditional crafts by establishing the Department of Lacquer and a miniature at the Republican College of Arts named after P.P. Benkov. Nam Nikolai developed the traditional Suzani pattern, one of the ancient applied arts required as a wedding gift for Uzbek women. Meanwhile, Magay Yuri attempted to convey the warmth and brightness unique to Uzbekistan through a modern transformation of clay crafts. In addition, Pak Yuri collaborated with UNESCO to inherit Uzbekistan's intangible heritage through the block printing technique he learned from Margilan artisans. In this way, it can be seen that Koryoin actively participated in developing local culture and chose assimilation to be incorporated as a dominant force rather than in conflict with the mainstream culture in Central Asian society, where various cultures coexist. In conclusion, this study is meaningful in that it examines Uzbekistan's applied art as a window to understand the hybrid situation, era, and space that Koryoin faces today by supporting that Koryoin artists are plural beings with countless layers.