우즈베키스탄 화가 신순남(니콜라이 신)의 창작에 반영된 초국적 문화정체성

Abstract

In this article, we intend to analyze the work of Uzbekistan’s Goryo-saram (Korean diaspora) painter Shin Soon-Nam (Nicholai Shin) from three main directions. First, images of death and mourning frequently appearing in Shin Soon-Nam’s <Requiem> series － one of his most representative works － are compared across various creation periods. In addition, we analyze how the funeral culture of the Goryo people and principles of Russian icons are reflected in Shin Soon-Nam’s creations. We also examine how images of death and mourning that formed the basis of the memories of Shin Soon-Nam’s “home country” culture are reconstructed as a mixed aspect of “Joseon” and Russian cultural codes. Second, the tendency of simplification in the form that is more clearly perceived in Shin Soon-Nam’s later works and the realization of repetitive themes can be considered a part of the process of reproducing memory and overcoming trauma. We analyze how these aspects are embodied in the crossings of various artistic styles ranging from European medieval art, Renaissance religious paintings, and expressionism to the Russian avant-garde trend. Finally, in the <Soocock> series, which belongs to Shin Soon-Nam’s later works, we examine how the painter retained the memory and identity of the culture of the “mother country”(Joseon), and how his ethnic identity is transmuted into a transnational cultural identity. In this regard, we analyze the problem of memory for the “imagined” home country and investigate how the residence culture and home country’s culture blend, which is more clearly perceived in his late creation period. Through this series of works, Shin Soon-Nam’s creation, which was limitedly discussed from the perspective of the “Korean Diaspora,” can be interpreted as a transnational product embodying various cultural memories and artistic identities of Eurasia ranging from Korean to Russian, European, and Central Asian. Furthermore, the findings reveal that painter Shin Soon-Nam’s creation was ultimately part of his journey in establishing his transnational, cultural, and artistic identity.