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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Through examining family images of artists who experienced the Korean War, this article aims at uncovering their reality awareness and the social and cultural changes that occurred during those days. It is noteworthy to observe that few family portraits survive prior to the Korean War in Korean history, although the tradition of portraiture had existed in the Chos˘on dynasty. In contrast to Japan where family portraits became popular during the Meiji period and to the West, Korea seldom produced family portraits even during the Japanese colonial period when the country was exposed to such outside traditions. It is only after the Korean War that themes dealing with the family proliferated significantly. This article examines the social background that propelled the production of family images after the War, and the changes in views towards the concept of family.
What consisted the scope of a family changed through times. As recently as the Japanese colonial period, the scope of a family extended to at least three generations around the blood lineage of the male members of the family. Beginning with the Korean War, however, the framework of one’s native hometown and the concept of a traditional family dissolved, redefining the principle of a family to that of direct family members. The harsh conditions of war attached more importance to one’s own children, strengthening the ties among the close family members and rediscovering the value of a tightly knit nuclear family.
Family became an important subject in the post-war era in Korea. While in literature the cruelty of the War was indicted and judged by describing the loss and damage of the family with great realism, in painting the image focused on the idealized image of restored family. Chang Uk-jin (1917~1990) and Pak Su-gun (104~1965), both of whom had lost their children and had been separated from their families during the War, and even Yi Chung-sop (1916~1956), who had completely lost his family and never recovered from the loss, expressed the vision and hope of a restored family through painting images of an idealized family.
The family images of these artists have heretofore been interpreted in autobiographical terms as images closely interweaved with their lives; however a broader socio-historical approach is needed as they are a phenomenon that surges after the Korean War. This paper focuses on these three artists, examining family images drawn before the war and after, tracing the impact of the war on family consciousness. Subjects which emphasize parenthood, motherhood, and homeward bound road will also be included as they broadly relate to the consciousness of family relationships.
What consisted the scope of a family changed through times. As recently as the Japanese colonial period, the scope of a family extended to at least three generations around the blood lineage of the male members of the family. Beginning with the Korean War, however, the framework of one’s native hometown and the concept of a traditional family dissolved, redefining the principle of a family to that of direct family members. The harsh conditions of war attached more importance to one’s own children, strengthening the ties among the close family members and rediscovering the value of a tightly knit nuclear family.
Family became an important subject in the post-war era in Korea. While in literature the cruelty of the War was indicted and judged by describing the loss and damage of the family with great realism, in painting the image focused on the idealized image of restored family. Chang Uk-jin (1917~1990) and Pak Su-gun (104~1965), both of whom had lost their children and had been separated from their families during the War, and even Yi Chung-sop (1916~1956), who had completely lost his family and never recovered from the loss, expressed the vision and hope of a restored family through painting images of an idealized family.
The family images of these artists have heretofore been interpreted in autobiographical terms as images closely interweaved with their lives; however a broader socio-historical approach is needed as they are a phenomenon that surges after the Korean War. This paper focuses on these three artists, examining family images drawn before the war and after, tracing the impact of the war on family consciousness. Subjects which emphasize parenthood, motherhood, and homeward bound road will also be included as they broadly relate to the consciousness of family relationships.
목차
Ⅰ. 머리말
Ⅱ. 한국전쟁 이전의 가족 이미지
Ⅲ. 한국전쟁 이후의 가족 이미지
Ⅳ. 맺음말
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UCI(KEPA) : I410-ECN-0101-2009-650-015244641