This thesis is a study on the cognizance of Korean art via works of Choi Sunu. Mr. Choi, 4th director of the National Museum of Korea, devoted his whole life in the museum and introduced beauty of Korean art through a wide range of exhibitions and wri... This thesis is a study on the cognizance of Korean art via works of Choi Sunu. Mr. Choi, 4th director of the National Museum of Korea, devoted his whole life in the museum and introduced beauty of Korean art through a wide range of exhibitions and writing works. The exhibit '5000 Years of Korean Art' in particular, is highly regarded as the works enhancing the national prestige. Also, he popularized Korean beauty with his distinctive writing style when describing Korean art. Studies on him have been centered on his establishments that introduced excellence of Korean art. His commentary about Korean art assured superiority and identity of Korean and is estimated as tradition and pride that Korean rightly should be aware of. If Choi's Korean beauty is an absolute recognition, it surely should be applied in Korean life and art always in 21st century. However, given that his beauty is functioning as Korean traditional culture content now, it can naturally be interpreted as discourse that made in Korean special period and situation, not an immutable identity or universal value. This study is subject to that his seeking Korean beauty is based on a course of Korea modernization in 1960-1970's and the distinctiveness. His cognition on Korean beauty has two backgrounds. First, is it an approach on identity after Korea has transferred to an international community. He guarded Western culture imported to Korea but tried to introduce Korea to Western people at the same time. Especially, he concentrated on differences of Korean art from Chinese and japanese ones. The Korean art praised from Western people in overseas exhibits has recognized as a pride of Korean art. It was meant that Korean culture was transferred to the East where the world expected and settled as a methodology of his research on Korean art. Second, Yanagi Muneyoshi(柳宗悦)'s affection on Korean art greatly influenced him. He was certain that Japanese loving on Korean art demonstrated outstanding Korean art. The positive appraisal on Korean art from Western and Japanese people encouraged him to find Korean beauty and affected the methodology. He used the term 'Korean beauty' in 1963 for the first time. Since then, exhibitions and writing works on white porcelain increased rapidly simultaneously. From 1967, there was a significant upsurge in exhibitions and commentary on folk art and it led to and agent for folk art in 1970s. Since 1969, external features have been identified with nation's spirit and the nation's art was set up after '2000 Years of Korean Art' in 1973. Since then, the resounded value of Korea art all over the globe through the exhibition, '5000 Years of Korean Art', in the United Stated and Japan. A book, 『5000 Years of Korean Art』 published in 1978, organized his research performances on Korean art and the pride of nation's art. He commented various arts but he did not accept all works as Korean art. He was sure that the most traditional Korean work was Joseon Porcelain and the white in White Porcelain represented the genuine Korean work. He also selected wooden furniture showing simplicity, thin coloring painting, genre painting and the real landscape painting. The exception from Korean beauty included colorful accessories, craft works of women, folksy pottery and palace or thatched cottage. His Korean beauty is a specific area and partially is made with arbitrary decisions and thus, it does not embrace the whole Korean art. As he recognized Korean society as a confusion of culture back then, he emphasized the importance of preserving cultural assets against an inflow of new culture and urbanization due to the modernization. In late 1950's, he cautioned abstract paintings of young painters and highly appreciated Kim Whanki(金煥基) who has a traditional individuality. Furthermore, it has found that he criticized public culture and had a purpose of enlightenment to raise true Korean. He explained a genre painting of Shin Yunbok(申潤福) often and as he judged women's new cultures as toadyism, he tried to enlighten via traditional art. He also idealized a kind mother and wife as 'Korean Lady'. His Korean beauty can be called a discourse that made after Korean society transferred to globalization. It had to be proved to Western people that Korean are an inherent ethnic group in East Asia and traditional culture was asked for internally in Korean society due to an inflow of foreign culture. The beauty was chosen by his arbitrary decision and his choice could not deviate from Yanagi Muneyoshi. Moreover, as Korean beauty was forced to be a spiritual and an ethical value, it can possibly be criticized that it made Korean culture's diversity and reality neglected. Therefore, his Korean beauty should be viewed as a tradition made in the middle of Korean modernization and a product of special times. ，韩语论文，韩语毕业论文 |
