近現代 濟州美術의 形成과 展開

Abstract

History covers all the systems and institutions created by human beings, such as politics, economy, society, and culture. The history of art looks at time and space in art-related human activities. Any artistic performance is significantly connected to society, even though it originates from an individual work. In terms of time and institutional aspects, the formation and development of the modern and contemporary art in Jeju is not different from that on the mainland. However, Jeju has unique characteristics as an island and as a refuge during the Korean War. This study looked into changes and characteristics of Jeju art with the indigenousness of modern Jeju art and the effects on art of people migrating into Jeju in the 19th century, the performance of the artists who studied in and came back from Japan during the Japanese Colonial period, the artistic movement in the post-Independence era and the influence of the refugee artists during the Korean War, and the development of Jeju art after the Korean War. Jeju Mujado (character picture) during the Joseon Dynasty was derived from its counterpart on the mainland based on the moral concepts of Confucianism, but the Jeju version was translated into more original aesthetic style with added geographical and environmental characteristics of an island. Tamna Sullyeokdo is an album ofdocumentary drawings that a local artist drew at the order of Governor Lee Hyeong-sang, representing the art styles of Jeju as practical drawings. Chusa Kim Jeong-hui taught his disciples including Kim Gu-o, Park Kye-cheom, and Lee Han-jin during his exile in Jeju, having an influence on several genres such as calligraphy, seal engraving, and paintings of the literary artists' styles. Jeju-born artists who had studied in Japan returned to the island and introduced paintings of Western styles during and after the Korean War. Artists moving into the island from the mainland during the Korean War contributed to broadening the awareness of Western styles by introduction of Western arts and art education. However, they brought a more pastoral and poetic naturalism, ignoring the reality of Jeju as a refuge from the Korean War. In the Independence era there were some artists who were not accounted for or who defected to North Korea. The art of Jeju faced a turning point in the 1950s with students who were taught directly or indirectly from those refugee artists during the Korean War, and Jeju-born artists coming back to the island after finishing their official education on the mainland. These second-generation artists introduced Impressionism and abstract landscape paintings. In the 1970s, professional art education centers were established to lay an academic institutional foundation. There were also attempts to move away from modern representational paintings with some young artists introducing Abstractionism and some art groups performing experimental art styles. In the late 1980s, the new artistic movement in the name of People's Art Movement led to an aesthetic introspection about the dependence on the foreign art styles and efforts to find alternatives. In addition, a growing number of artists brought about a diversification of genres.