1980년대 송수남의 한국화, 전통과 현실 사이의 표상

서지정보

ㆍ발행기관 : 한국미술연구소 ㆍ수록지정보 : 美術史論壇 / 40권
ㆍ저자명 : 이민수

영어 초록

In the 1980s, two tendencies which were newly emerged in Korean world of art can be ‘Korean Painting(韓國畵)’ and ‘Minjung Art’. Those two tendencies have something in common. Both of them concentrated on the concept of ‘tradition’ which has been focused since nationalism cultural policy of the Park Junghee regime started to be implemented in the 1960s. It’s surely interesting that those two parties with different interests and conditions have the cross point in the problem, ‘realistic reflection of tradition and succession’. This researcher intended to examine this problem of Song Soonam’s Korean painting of the 1980s among the Korean paintings by taking this cross point as a starting point of this research.
The main body is organized as follows. First of all, this researcher examined from Song Soonam’s early work to the work of the 1970s when he worried about form and contents of Korean paintings after the first private exhibition of 1969 and the background. Especially, it was importantly considered that interests in paintings of the latter part of the Joseon Dynasty, such as Jungsun(謙齋 鄭敾) and Kim Hongdo(檀園 金弘道), were rapidly increased after the tradition cultural policy of the Park Junghee regime. Next, among the tendencies of Korean paintings appeared by effects of Jingyeong landscape paintings(眞景山水畵), Song Soonam’s series <Nature and City> in the 1980s were compared with Lee Jongsang’s series <Dokdo>. Therefore, this research examined how main interests of Korean paintings at that time were related to politic·social·cultural context. Finally, this researcher intended to mention the field of Minjung Art whose tradition was interested as much as Korean painters, compare the meaning of ‘reality’ they commonly emphasize and draw the differences so as to understand Song Soonam’s Korean paintings of the 1980s more generally and ultimately, approach the substance of Korean paintings.

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