탈식민지화의 요구와 북한미술가들의 정체성형성 -1950년대 말 1960년대 초 혁명전통 성립과정을 중심으로- (De-Colonization and the Identity Formation of North Korean Artists -The Establishment of the Revolutionary Tradition between the late 1950s and the early 1960s-)

서지정보

· 발행기관 : 덕성여자대학교 인문과학연구소
· 수록지 정보 : 인문과학연구 / 33호 / 81 ~ 117페이지
· 저자명 : 이영지

초록

1950년대 말 1960년대 초 북한미술계는 김일성의 1930년대 항일무장투쟁을 중심으로 조선독 립과 민족해방 그리고 조국통일로 이어지는 탈식민지적 역사의 패러다임을 구축하고, 김일성과 항 일무장투사들을 영웅적으로 형상화하여 당의 역사를 이룬 공산주의자의 전형으로 내세운다. 천리 마 운동이 펼쳐지던 1959년 생산품의 질적 제고 문제가 대두되자, 그 흐름에 맞춰 미술계에서도 기존의 혁명전통 주제화를 재평가하고, 그 사상-예술적 질을 향상시키기 위한 대안을 마련한다. 이에 미술가들은 혁명전적지 조사사업에 참여하여 역사화와 기념비 제작을 위한 실증적 창작태도 를 취하며, 새로운 창작 기풍을 세우기 위한 제도적 장치로서 집체창작과 합평회 그리고 미술써클 활동을 본격적으로 조직화한다. 혁명전통의 수립과정은 미술가들에게 일제강점기에 주입된 “낡은 부르죠아 사상”과 반동적인 미술사조, 그리고 바람직하지 못한 창작태도를 고치고, 새로운 탈식민 지적 주체로 거듭날 것을 요구하는데, 이때 읽기와 형상화, 발화와 글쓰기가 새로운 정체성 형성에 큰 역할을 한다. 한편 재일조선인귀국사업의 여파로 북한의 탈식민지화 정책은 일본에까지 그 영 향을 미치게 되고, 북한의 혁명전통 교양사업이 냉전시대의 영향으로 초국적 성격을 띠며, 반자본 주의, 반제국주의, 그리고 강한 민족주의적 성격으로 변하게 된다.

영어초록

In the late 1950s and early 1960s, North Korea reconfigured a paradigm of post-colonial history that led to Korean independence, national liberation, and Korea’s reunification centering on Kim Il-Sung’s anti-Japanese armed struggle in the 1930s. The historical lineage of the revolutionary tradition positioned Kim and his heroic comrades, who originated the revolutionary tradition, as the epitome of communists amid the anti-Japanese guerrilla war. In 1959, when the Chollima Movement was unfolding, how to improve the quality of products became a pivotal issue in North Korea. North Korean artists reevaluated pre-existing revolutionary traditional art and attempted to improve its ideological-artistic quality in tandem with the party-led economic and political policy. The party organized a revolutionary battlefield investigation team to research revolutionary sites in Yanbian and Manchuria where Kim and his partisans fought against Japanese imperialism in the 1930s. The research team took an empirical approach to the historicization of the revolutionary tradition by collecting evidence and conducting interviews with former anti-Japanese partisans. Likewise, during their field research, artists Jung Kwanchul (1916-1983) and Moon Haksu (1916-1988) drew portraits of local revolutionaries and painted landscapes of historic sites. Sculptors including You Jinmyeong also joined this movement of historical research by visiting revolutionary battlefields in order to design and build monuments to commemorate revolutionary history in local areas. Meanwhile, the North Korean art world produced a new mode of art-cultural production that combined collective creation and evaluation. This systematic organization became the platform on which artists as a group studied the revolutionary tradition represented by Kim and his partisans and reshaped their own collective identity in relation to this tradition. North Korean artists were expected to abandon their bourgeois mindset, remove lingering styles of formalism, and reform themselves as decolonial subjects. With North Korea’s implementation of the Homecoming Movement for ethnic Koreans in Japan, the revolutionary tradition took on a more transnational, anti-capitalist, and anti-imperialist characteristic. North Korean artists and Zainichi artists together formed a transnational network underpinned by the anti-capitalist and anti- imperialist rhetorics of the Cold War. The returnees from Japan followed the decolonial movement of North Korea by performing as desirable communist subjects in everyday life as a means to cater to Kim Il-Sung and his party.

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