단색화의 기원과 예술적 성취에 대한 반성적 고찰

초록

Purpose: The purpose of this study is to investigate the logic and conditions underlying the construction of the artistic value and achievements of Dansaekhwa, which has dominated the art market and been hailed as the “Korean Wave of Art.” Furthermore, it seeks to explore whether the movement can be meaningfully interpreted through a critical lens within the framework of the art institution. Methods: Grounded in the premise that fine art is a discursively constituted institution and that artistic value derives from art’s reflective function, the paper examines Dansaekhwa’s methodologies and origins. It traces Dansaekhwa’s “de-interiority” and “de-expression” to Lee Ufan’s Mono-ha theory and further back to Yanagi Muneyoshi’s Mingei theory. Results: The study argues that Dansaekhwa’s genealogy aligns it with a Mingei-based, craft-oriented framework that tends to foreground predetermined, deductive values rather than generating new meanings inductively from the work’s imagery. Conclusion: By attempting to overturn modern art’s focus on subjective consciousness through strategies of de-interiority and de-expression, Dansaekhwa positions itself outside the reflective trajectory commonly associated with modern art. This framework opens a critical space to re-evaluate what counts as artistic value and achievement in Dansaekhwa within the institutional system of fine art. The critical conclusion of this study is not intended to deny or disparage the achievements of Dansaekhwa or the Hallyu phenomenon itself; rather, it is significant in that it proposes a public forum for developing a balanced aesthetic discourse on Korean contemporary art beyond conventional nationalist interpretive frameworks.

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