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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
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In June 28, three days after the Korean War broke out, Seoul was under the rule of the North Korean Army, and thus artists were also called out to join the army. As Seoul was won back by the South Korea after three months, an inspection was held among the compulsory laborers. Artists started to held Anti-North pep rally to keep democracy and to commit to win North Korea by force and succeed in unification. During this time, artists gathered together under the ‘Korean Art Association of The Artists’. Actually the association was established before the Korean War, but it had gained the leading authority among the Anti-North artists’ association during the wartime. Participating in the Korean Art Association proved that artists are also Korean citizens who are against communism. Joining the War Artists was a definite way to prove that they are engaging in democracy protection and assuring one’s social status security during the unstable wartime. As a war-artist, participating in an organization by keeping the war records and creating pamphlets and posters are examples of working actively as an artist. A more voluntary way would becoming a soldier(partisan), but during the Korean War, that wasn’t a decision made on their own will for most of the people.
Most of the artists, who acted as a governmental unit in partisan, actually went into mountains to survive. Even though they acted in political maneuvering, their lives were just vigorously being chased and therefore, it is hard to say that they participated in propaganda work. However, since their work could be found in newspapers and documents of each unit, it is possible to verify artists’ work in both anticommunist guerilla units, and communist guerilla units during Korean War.
The ways to respond and deal with historical crisis are already trained and normally it is just followed by the universal patterns of behavior. As the Korean War broke out, artists had raised the possibility of their survival through forming organization which obeys to their country’s authority. The experience of Japan’s imperialism had allowed South Koreans to recognize that the anti-communism, which aroused after independence, could operate as the country’s force of violence.
However, Korean War was not a war only between South and North Korean government, but a ‘strange war’ where U.S., UN, and Soviet Union armies had all got involved. Therefore, it was a situation where it was hardly possible to consider the form of identity in only South and North. During the war, artists had exists as the army of war-artists and in both South and North Korea’s guerrilla unit. Therefore, under the circumstance of this kind of war, it was normal for artists to decide to stay in their own hometown, or either to choose to live in South or North Korea after the armistice.
Most of the artists, who acted as a governmental unit in partisan, actually went into mountains to survive. Even though they acted in political maneuvering, their lives were just vigorously being chased and therefore, it is hard to say that they participated in propaganda work. However, since their work could be found in newspapers and documents of each unit, it is possible to verify artists’ work in both anticommunist guerilla units, and communist guerilla units during Korean War.
The ways to respond and deal with historical crisis are already trained and normally it is just followed by the universal patterns of behavior. As the Korean War broke out, artists had raised the possibility of their survival through forming organization which obeys to their country’s authority. The experience of Japan’s imperialism had allowed South Koreans to recognize that the anti-communism, which aroused after independence, could operate as the country’s force of violence.
However, Korean War was not a war only between South and North Korean government, but a ‘strange war’ where U.S., UN, and Soviet Union armies had all got involved. Therefore, it was a situation where it was hardly possible to consider the form of identity in only South and North. During the war, artists had exists as the army of war-artists and in both South and North Korea’s guerrilla unit. Therefore, under the circumstance of this kind of war, it was normal for artists to decide to stay in their own hometown, or either to choose to live in South or North Korea after the armistice.
목차
Ⅰ. 머리말
Ⅱ. 6·25전쟁기 미술인 조직의 동향
Ⅲ. 조선인민유격대(빨치산)의 미술인
Ⅵ. 맺음말
참고문헌
〈Abstract〉
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UCI(KEPA) : I410-ECN-0101-2014-600-000668485