해녀 표상과 로컬리티

Abstract

This study, on the premise that the perception of Haenyeo is not a fixed entity but a product that is discovered or changed according to social and political desires, traces the changes in perception by era as reflected in works on the theme of Haenyeo in the modern and contemporary era. The purpose of this study is to examine the meaning of the icon of Haenyeo to Lim Ho, who was called the painter of “Conch and Haenyeo.” In fact, Haenyeo, who had been subject to servile labor until the Joseon Dynasty, overcame adversity under the influence of colonial capitalism in the modern era, leading to the emergence of strong images of Haenyeo that sometimes stimulated maternal love. However, <The Beach>, one of Lim Ho's representative works, presents a lyrical landscape that is different from the existing Haenyeo. Paying attention to this point, the paper attempted to trace the meaning of the iconography of Haenyeo in Lim Ho's painting work. Haenyeo were a topic that Lim Ho had been obsessed with throughout his life, and they were also a manifestation of national sentiment beyond locality. It can be said that the lyrical local scene, which is different from the strong Haenyeo statue seen in <The Beach>, was the result of his consideration of local and national art as a first-generation Western painter in Busan.