¢Æ¢Æ RIM HYO ¢Æ¢Æ
 
 
   
  ÀÓÈ¿, º¸ÀÌ´Â °Í¿¡¼­ ¹«±ÃÇÑ °ÍÀ¸·Î
  ±Û¾´ÀÌ : °ü¸®ÀÚ     ³¯Â¥ : 12-03-03 21:05     Á¶È¸ : 8090    
ÀÓ È¿,
º¸ÀÌ´Â °Í¿¡¼­ ¹«±ÃÇÑ °ÍÀ¸·Î

¼­ ¼º ·Ï (¾Èµ¿´ë ¹Ì¼úÇаú ±³¼ö)

ÀÓÈ¿´Â ÆÈ»öÁ¶ÀÇ ¸Å·ÂÀ» Áö´Ñ ÀÛ°¡ÀÌ´Ù. Àü½Ã¸¦ ¿­ ¶§¸¶´Ù ¸Å¹ø »õ·Î¿î ¸ð½ÀÀ¸·Î º¯½ÅÀ» °ÅµìÇØ¿ÔÀ¸´Ï ¸»ÀÌ´Ù. ÀÌ°ÍÀº ¼ö¹¬ÀÇ ½Ç°æ¿¡¼­ Ãâ¹ßÇÑ ±×°¡ ä»ö°ú ÆÇÈ­¸¦ °ÅÃÄ Ç¥¸éÀÇ ¿ä¶õÇÑ Áö°¢º¯µ¿À» Ư¡À¸·Î ÇÏ´Â ¸±¸®ÇÁ ÀÛ¾÷À» ÇÏ´Â µ¥¼­ ´ÜÀûÀ¸·Î µå·¯³­´Ù. ÀÌ·± º¯È­´Â ±âº»ÀûÀ¸·Î ±×°¡ ¿Õ¼ºÇÑ ½ÇÇèÀÇ ÀÛ°¡¿ä Çѱ¹È­ÀÇ ÀüÅëÀ» À̾¸é¼­µµ ¿À´ÃÀÇ ¹Ì°¨¿¡ ¸Â°Ô ¹ßÀü½ÃÅ°·Á´Â °í½É¿¡¼­ ºñ·ÔµÇ¾ú´Ù°í »ý°¢ÇÑ´Ù.

1990³â Á¶¼±ÀϺ¸ ¹Ì¼ú°ü¿¡¼­ °³ÀÎÀüÀÌ ¿­·ÈÀ» ¶§ ÀÛ°¡´Â ¼Ò¿ëµ¹ÀÌÄ¡´Â
µíÇÑ Çʼ±°ú ¿ø»öÀ» °çµé¿© <½ÅÈ­> ½Ã´ë¸¦ Ç¥ÇöÇÏ¿´´Âµ¥ ¿ï¸²ÀÌ ¾îÂÄÇ´øÁö ¸¶Ä¡ dz¶ûÀÌ µéÀÌÄ¡´Â µíÇÑ ´À³¦À̾ú´Ù. ±× ¹«·Æ È­´Ü¿¡ 乬ÀÇ ¹°°áÀÌ °Å¼¾ Å¿µµ ÀÖ¾ú°ÚÁö¸¸ ÀÓÈ¿ ÀÚ½ÅÀÇ ³»¿¬ÇÏ´Â µíÇÑ Á¶ÇüÀû ´ÙÀ̳ʹÌÁòÀÌ À¯°¨¾øÀÌ ÀÛ·ÄÇÑ µ¥¼­ ±× ¿øÀÎÀ» ãÀ» ¼ö ÀÖÀ» °ÍÀÌ´Ù.

<½ÅÈ­>½Ã´ë´ÂÀÇ ¿¹¼úÀû ¿©Á¤À» ºñÃß¾îÁÖ´Â ÀüÁ¶°°Àº °ÍÀ̾ú´Ù. ¿ªµ¿ÀûÀÎ °ø°£±¸¼º°ú Á¦¾îµÇÁö ¾Ê´Â Çʼ±µé, À°ÁßÇÑ ¹¬ÈçµéÀÌ È­¸éÀ» Àá½ÄÇعö·È´Ù. ±×·¯³ª ÀÛ°¡´Â ÀÌ Á¤µµ¿¡¼­ ¸¸Á·ÇÏÁö ¾Ê¾Ò´Ù. ÀÌ°ÍÀº ±×°¡ ¾î¶² ¿¹¼ú¿©Á¤À» ¹â¾Æ¿Ô´ÂÁö µ¹¾Æº¸¸é ½¬ÀÌ ÁüÀÛÇÒ ¼ö ÀÖÀ» °ÍÀÌ´Ù. ±×°¡ ÀÛÇ°ÀüÀ» ¿­ ¶§¸¶´Ù »õ·Î¿î ¸ð½ÀÀ» ¼±º¸¿´°í ±×·¯¸é¼­µµ Çѱ¹ÀûÀÎ °ÍÀÇ ¿øÇüÀ» ãÀ¸·Á´Â ±âÁ¶¸¦ ÁöÄÑ¿Ô´Ù´Â °ÍÀº ÀÛ°¡°¡ ÀüÅëÀÇ Á¤½ÅÀ» °è½ÂÇ쵂 ¹æ¹ý¿¡ À־ ÆÄ°ÝÀÇ ½ÇÇèÀ» ¸¶´ÙÇÏÁö ¾Ê¾ÒÀ½À» ¸»ÇØÁØ´Ù.

ÀÓÈ¿´Â ¸¶Ä¡ µî»ê°¡°¡ Á¤»ó¿¡ ¿À¸£±â±îÁö °í°³¸¦ ¿À¸£¶ô³»¸®¶ôÇÏµí ¿©·¯¹øÀÇ º¯È­¸¦ °ÅÃÄ Áö±ÝÀÇ ÀÛ¾÷¿¡ À̸£·¶´Ù. 80³â´ë Áß¹Ý ½Ç°æ»ê¼ö¿¡¼­ ½ÃÀÛÇÏ¿© ÈĹݿ¡´Â ¿ªµ¿ÀûÀÎ ÆŬ°ú ³»¹ÐÇÑ ¿îÇÊÀ» ¹ø°¥¾Æ ±¸»çÇÏ¿´°í, 90³â´ë¿¡´Â ±½Àº ¹¬¼±À¸·Î Ư¡Áö¾îÁö´Â Ç¥ÇöÀûÀΠä»öÈ­¸¦ ¼±º¸¿´´Ù. ´ë¹üÇÑ Çʹ¬¿¡´Ù ä»öÀ» º¸ÅÂ¾î ¿õÀåÇÑ »ê¼öÀÇ ±â»óÀ» Ç¥ÇöÇÏ¿´´Ù. ¸î ÀÛÇ°¿¡´Â ¿îÇÊÀÇ ¼Óµµ°¨°ú »öä°¨À» °¡ÇÏ¿© ´ë»ó¹°¿¡´Ù ÀÛ°¡ ÀÚ½ÅÀÇ °¨Á¤À» ºÒ¾î³Ö´Â ½Ãµµ¸¦ Çϱ⵵ Çß´Ù. È­´Ü¿¡ µ¥ºßÇÑÁö 10³â ³²ÁþÇÑ ±â°£¿¡ ¿©·¯°¡Áö ½ÇÇèÀ» ÇÑ °ÍÀ¸·Î¸¸ º¸¾Æµµ ºÎ´ÜÇÑ Á¶ÇüŽ»öÀ» ²ÒÇÏ´Â ÀÚ±âÇõ½ÅÀÇ ÀÛ°¡¶ó´Â °ÍÀ» ¾Ë ¼ö ÀÖ´Ù.

ÇÑÁöÀÇ ¹ß°ß
¿ä»çÀÌ ±×ÀÇ ÀÛÇ°Àº ÀüÅëÀûÀÎ Àǹ̿¡¼­ÀÇ Çѱ¹È­¿¡¼­ ¹þ¾î³ª ÀÖ´Ù. ¸ðÇÊÀÇ ÈçÀûÀ» ã¾Æº¼ ¼ö ¾ø°Å´Ï¿Í È­¸é¿¡´Â »õ³¢ÁÙ°°ÀÌ ²¿ÀÎ °ÍÀ̳ª ±ÙÀ°ÁúÀÇ ¸ð¾çÀÌ ½º¸Ö½º¸Ö ¿Ã¶ó¿Í ÀÖ´Ù. °íÁö½ÄÇÑ »ç¶÷À̶ó¸é ±×ÀÇ ÀÛÇ°À»¡®È¸È­¡¯·Î ºÎ¸£´Â °Í¿¡ ºÒ¸¸À» °¡ÁúÁöµµ ¸ð¸¥´Ù.

±×·¯³ª ±×°¡ »ç¿ëÇÏ´Â Àç·á´Â ¾îÁ¦³ª ¿À´ÃÀ̳ª ÇÑÁöÀÌ´Ù. ÇÑÁö´Â ¹®¹æ»ç¿ìÀÇ Çϳª·Î ¿¾ºÎÅÍ È­°¡µé¿¡°Ô »ç¶ûÀ» ¹Þ¾Æ¿Ô±â¿¡ ¾ÆÁÖ ´ç¿¬ÇÑ °ÍÀ̶ó°í ÇÒ ¼ö ÀÖ´Ù. ±×·³¿¡µµ ºÒ±¸ÇÏ°í ÀÓÈ¿ÀÇ ÇÑÁö »ç¶ûÀÌ Æ¯º°ÇÑ °ÍÀº ÇÑÁö°¡ ´Ü¼øÇÑ ¼ÒÁö(áÈò¢)°¡ ¾Æ´Ï¶ó ´ç´çÇÑ ÁÖÀΰøÀ¸·Î µîÀåÇÏ°í Àֱ⠶§¹®ÀÌ´Ù. ÇÑÁö¿¡¼­ Ãâ¹ßÇÏ¿© ÇÑÁö·Î ³¡³­´Ù°í ÇÒ ¸¸Å­ ÇÑÁö°¡ ÁÖµµÀûÀÎ ¿ªÇÒÀ» ÇÏ°í ÀÖ´Ù.

±×¿¡°Ô ÇÑÁöÀÇ ¹ß°ßÀº 95³â µ¿»ê¹æÈ­¶û¿¡¼­ °¡Áø µµºÎÁ¶ÆÇÈ­ÀüÀ¸·Î °Å½½·¯ ¿Ã¶ó°£´Ù. ÀÛ°¡´Â À̶§ Àڱ׸¶ÇÑ ºÎÁ¶ÀÛÇ°À» ÃâÇ°Çߴµ¥ ¸ðµÎ°¡ ÁöÆǺÎÁ¶ÀÇ Çü½ÄÀ» ÃëÇß´Ù´Â Á¡¿¡¼­ ´«±æÀ» ²ø¾ú´Ù. Áï À½°¢À¸·Î µÈ µµÆÇ(Ô¶÷ù)ÀÇ Ç¥¸é¿¡ ÇÑÁö¿ø·á¸¦ ¾ÐÂø½ÃŲ ºÎÁ¶ÆÇÈ­¸¦ ¼±º¸¿´À» »Ó¸¸ ¾Æ´Ï¶ó ¾ÐÀÎÇÑ ÇÑÁö¿ø·á À§¿¡ ´Ù½Ã ä»öÀ» ÇÔÀ¸·Î½á ÀÔü°¨À» °­È­ÇÑ ¸Å¿ì µ¶Æ¯ÇÑ 0lÀÛÇ°À» Á¦ÀÛÇÏ¿´´Ù.

ÀÌ ÀÛÇ°Àº Á¾ÀÌ ÀÚü°¡ Àû±ØÀûÀ¸·Î Á¶Çü¿¡ Âü¿©ÇÏ°í ÀÖ´Ù. ÀÌ·± °æÇâÀº ¼­¾çÈ­ ºÐ¾ß¿¡¼­´Â È°¹ßÇßÁö¸¸ Çѱ¹È­ ºÐ¾ß¿¡¼­´Â ±×¶§±îÁö¸¸ Çصµ ¼Ò±ØÀûÀ̾ú´ø ÆíÀÌ´Ù. ÀÛ°¡´Â ÇÑÁö°¡ ±×¸²ÀÇ ¹ÙÅÁÀ¸·Î¸¸ ±¹ÇѵǴ °Í¿¡ ¸¸Á·ÇÏÁö ¾Ê°í ÇÑÁö ÀÚüÀÇ °íÀ¯ÇÑ ¼Ó¼º¿¡ Âø¾ÈÇÑ »õ °³³äÀÇ ÀÛÇ°¿¡ µµÀüÇß´ø °ÍÀÌ´Ù. ±×ÀÇ µµºÎÁ¶ÆÇÈ­´Â ÀüÅë°ú Çö´ë »çÀÌ¿¡¼­ °í¹ÎÇÏ´Â ÈĹèÀÛ°¡µé¿¡°Ô È°·Î¸¦ ¿­¾îÁÖ´Â °ÍÀº ¹°·ÐÀÌ°í Çѱ¹È­ÀÇ ¸Åü½ÇÇè¿¡ ½Å¼±ÇÑ ÀÚ±ØÀÌ µÈ °Í °°´Ù.

±×·¯³ª Á¤ÀÛ ÀÌ ÀÛÇ°Àº ¿¹±âÄ¡ ¸øÇÑ ÀÏ·Î ¿À·¡ °¡Áö ¸øÇß´Ù. Áï µµÆÇÀ» ¸¸µé¾î³»·Á¸é °¡¸¶ÀÇ ¿ëÀû¿¡ ¸ÂÃß¾î¾ß ÇÏ´Â Á¦¾àÀÌ µû¸£±â ¶§¹®¿¡ µµºÎÁ¶ÆÇÈ­´Â Ç×»ó 10È£ Á¤µµ·Î Á¦ÇÑÀ» ¹Þ¾Æ¾ß¸¸ Çß´Ù. ±×¸®ÇÏ¿© ÀÛ°¡´Â ¾Æ½¬¿òÀ» »ïÅ°°í ºÎÁ¶ÆÇÈ­¸¦ ±×¸¸µÎ¾î¾ß Çß´Ù.
¸î ³âÀÌ È帥 µÚ ÀÛ°¡´Â Ãß»óÀû ÆÐÅÏÀÇ <»ó»ý> ¿¬ÀÛÀ» ¹ßÇ¥ÇÏ°Ô µÈ´Ù. ÀÌÀÛÇ°¿¡¼± ÇÑÁöÀÇ Ç¥Á¤À» ÇÑÃþ Àû±ØÈ­Çϴµ¥ ÃÊÁ¡ÀÌ ¸ÂÃß¾î Áø´Ù. ¼ö¹¬ÀÇ ¹øÁü°ú Çʼ±ÀÌ µÎµå·¯Áö´Â°¡ ÇÏ¸é ¹ÙÅÁÀÇ ÅؽºÃò¾î°¡ ¿À·ÔÀÌ ºÎ»óÇÑ´Ù.

ƯÈ÷ <»ó»ý> ¿¬ÀÛ¿¡¼­´Â ºÎ´ÜÇÑ ±×ÀÇ ½ÇÇèÀÇÁö¸¦ ¿³º¼ ¼ö Àִµ¥¡®¿ì¸²¼ö¹¬¡¯°ú¡®µå¸²¼ö¹¬¡¯À¸·Î ÀÏÄþîÁö´Â ƯÀ¯ÀÇ ¼ö¹ýÀÌ ³ªÅ¸³ª´Â ½Ã±â°¡ ¹Ù·Î
ÀÌ ¹«·ÆÀÌ´Ù.¡®¿ì¸²¼ö¹¬¡¯À̶õ ´ÚÀ» ¹°¿¡ Ç®¾î¼­ »ö°¨À» µéÀÌ´Â °ÍÀ»,¡®µå
¸²¼ö¹¬¡¯À̶õ ¿ÌÄ¥À» °¡ÇÏ¿© »öÀÇ º¯ÁúÀ» ¹æÁöÇÏ´Â °ÍÀ» ¸»ÇÑ´Ù. ƯÈ÷¡®¿ì
¸²¼ö¹¬¡¯ÀÇ °æ¿ì õ¿¡ ¿°»öÀ» ÇϵíÀÌ ¹°¿¡ Ç®¾îÁ®ÀÖ´Â ÇÑÁö¿ø·á¿¡ ¿°»öÀ»
Ç®¾î ³Ö¾î »öÀÇ ÀÚ¿¬½º·± È¿°ú¸¦ ³»°Ô ÇÒ »Ó¸¸ ¾Æ´Ï¶ó »öÀÌ °í¸£°Ô ÆÛÁö
´Â ÀåÁ¡À» Áö´Ñ´Ù. ÀÛ°¡°¡ Àڱ⸸ÀÇ Á¶Çü¾î¹ý â¾È¿¡ ¾ó¸¶³ª ½ÉÇ÷À» ±â¿ï¿´´ÂÁö ¾Ë ¼ö ÀÖ´Â ´ë¸ñÀÌ´Ù.

Á¢ÇÕ°ú ÀÌÀ½
±Ù·¡¿¡ ¿Í¼± ±×ÀÇ ÀÛÇ°Àº ÇÑÃþ ÁøÆøÀÌ ´õ Ä¿Áö°í Àû±ØÀûÀ¸·Î ¹Ù²î¾ú´Ù. ±×ÀÇ ÀÛ¾÷½Ç¿¡ µé¾î¼­ÀÚ °í¹ÎÀÇ ÈçÀûÀÌ ´À²¸º¼ ¼ö ÀÖ¾ú´Ù. »÷µåÀ§Ä¡ ÆгηΠÁö¾îÁø ÀÛ¾÷½Ç ÇÑÄÒ¿¡´Â 2¹éÈ£ Å©±âÀÇ È­ÆÇ µÎ °³°¡ ¹Ù´Ú¿¡ ÆîÃÄÁ® ÀÖ¾ú´Âµ¥ °¡¸¸È÷ º¸´Ï ±× À§¿¡´Â ÇÑÁö°¡ ÀÇ»çÀÇ ½Ã¼úÀ» ±â´Ù¸®´Â µí ¾äÀüÈ÷ ³õ¿© ÀÖ¾ú´Ù. ÇÑ Á¡Àº Á¶±Ý Àü¿¡ ¿Å°ÜÁø µí ¹°±â¸¦ ¸ÔÀº ´ÚÀÌ Á¦ ¸öÀ» Ãß½º¸®µí °ÇÁ¶Áß¿¡ ÀÖ¾ú°í, ´Ù¸¥ ÇÑ Á¡Àº °÷°÷ÀÌ ÆÐÀÌ°í ´­¸®°í Á¢È÷°í »óä±â°¡ ³ª ÀÖ¾ú´Ù. ¾Æ´Ï³ª ´Ù¸¦±î ±× ¿·¿¡´Â Á¾ÀÌ¿¡ Ÿ¹Ú»óÀ» ÀÔÈù ¡®Èä±âµé¡¯ÀÌ ¾î¼ö¼±ÇÏ°Ô ³õ¿©ÀÖ¾ú´Ù. º¸Åë È­°¡¶ó¸é ½Ã°£µµ ¾Æ³¥ °â °ðÀå Á¾ÀÌÀ§¿¡ À̹ÌÁö¸¦ ¾ñÈú ÅÙµ¥ ±×´Â ±»ÀÌ Áö¸§±æÀ» ÇÇÇÏ°í Çè³­ÇÑ ÄÚ½º¸¦ ÅÃÇÏ°í ÀÖ¾ú´Ù.

±×¸¸Å­ ±×ÀÇ ÀÛ¾÷Àº ½Åü¿Í ¹°ÁúÀÇ Á¢ÃËÀÌ ±ä¹ÐÇÒ ¼ö¹Û¿¡ ¾ø´Ù. ´Ú ¿ø·á°¡ ÀÛÇ°À¸·Î ¿Ï¼ºµÇ±â±îÁö ÀÛ°¡ÀÇ ¸öÁþÀÌ °áÁ¤ÀûÀ̱⠶§¹®ÀÌ´Ù. Áï ±×¿¡ ½ÅüÀÇ ¸¸³²¾ø´Â ¹°ÁúÀº ¾øÀ¸¸ç ½ÅüÀÇ Ã¤¿öÁüÀ¸·Î ¹°ÁúÀÌ »ý¸í°¨À» ¾ò´Â´Ù. ±×·¯³ª ¹«¸®ÇÑ ½ÅüÀÇ °³ÀÔÀº ¹°ÁúÀÇ º»·¡¼ºÀ» ±ú¶ß¸®±â ½¬¿ì¹Ç·Î °æ°è¸¦ Àß ÁöÅ°´Â °ÍÀÌ Áß¿äÇÏ´Ù. ä¿öÁüÀ» ÀÌ·é ´ÙÀ½¿¡´Â ºñ¿òÀÌ µé¾î¼±´Ù.
ÀÚ¿¬À» ÀÚ¿¬À¸·Î µ¹·Áº¸³»°í º» ¸ð½ÀÀ» ÁöÄÑÁÖ±â À§Çؼ­°¡ ¾Æ´Ò±î ½Í´Ù.
±×°¡ ¿¹¼úÀ» ¸ôÀÔÇÏ´Â ±î´ßÀº ÀÛÇ°ÀÌ ¿Ï¼ºµÇ¾úÀ» ¶§ÀÇ Äè°¨À» ´©¸®±â À§ÇÑ °Íµµ ÀÖ°ÚÁö¸¸ ´Ü¼øÈ÷ ±×°Í¸¸À̶ó°í ´ÜÁ¤ÁöÀ» ¼ö ¾øÀ» °ÍÀÌ´Ù. ÀÛ°¡´Â ±×¿¡ ¸øÁö ¾Ê°Ô ÀÛ¾÷ ÀÚüÀÇ °úÁ¤À» Áß½ÃÇÑ´Ù. ÀÛ°¡´Â ¿ø·áÀÎ ´ÚÀ» ¹°¿¡ Ç®°í ±×°ÍÀ» È­ÆÇ¿¡ ÆòÆíÇÏ°Ô ÆîÃÄ ½Ã°£ÀÌ Èê·¯ ¾î´À Á¤µµ ²Ùµé²ÙµéÇØÁ³´Ù ½ÍÀ¸¸é Å©°í ÀÛÀº µµÄ§À¸·Î Ç¥Á¤À» ³»´Â µ¿½Ã¿¡ Á¾À̸¦ ¿Ã·Á ¼ºÇüÀ» ÇÏ°í ´Ù½Ã ´ÚÀ» ¿Ã·Á ºÎÁ¶¹°°ú ±×¶ó¿îµåÀÇ Á¢ÇÕÀ» µ½´Â´Ù. ÈçÈ÷ ÀÌ·± ÀÛ¾÷Àº ÀϹÝÀÛ°¡¿¡°Ô´Â Á¤ÁöÀÛ¾÷, Áï ä»öÀüÀÇ ¹ØÀÛ¾÷ Á¤µµ·Î ±×Ä¡Áö¸¸ ±×ÀÇ °æ¿ì´Â Á¢ÇÕ°ú ÀÌÀ½ÀÌ ÀÛÇ°¿¡ Áß´ëÇÑ ¿ªÇÒÀ» ÇÑ´Ù. ÀÌ·¸µí ´Ú À§¿¡ ´Ù½Ã´ÚÀ» ¿Ã¸®´Â °ÍÀº ¼­·Î ´Ù¸¥ °ÍµéÀÇ Â÷À̸¦ Á¼È÷°í Çϳª·Î ¹­À¸·Á´Â °èȹÀÇ ÀÏȯÀÌ´Ù.

ÀÌ·± »ó»ýÀÇ Ç¥ÇöÀº ¿ÌÄ¥¿¡¼­µµ ³ªÅ¸³­´Ù. ÀÛ°¡´Â ³ªÀüÄ¥±â¿¡¼­ º½Á÷ÇÑ
¿ÌÄ¥À» ±×¸²¿¡ ±â¿ëÇÔÀ¸·Î½á Å»»ö°ú ºÎ½ÄÀ» ¸·´Â´Ù. ±×·¯³ª ±×°¡ ¿ÌÄ¥À» »ç¿ëÇÏ´Â µ¥¿¡´Â ¶Ç ´Ù¸¥ ÀÌÀ¯°¡ ÀÖ´Ù. ¿ÌÄ¥Àº ½Ã°£ÀÌ È带¼ö·Ï ´õ¿í ±×À¹ÇØÁö°í ¸¼¾ÆÁö´Â Ư¼ºÀ» Áö´Ñ´Ù. ¾Æ¹«¸® ¸ÕÁö°¡ »Ç¾é°Ô ½×ÀÎ ³ªÀüÄ¥±â¶ó°í ÇÒÁö¶óµµ °í¾ÆÇÑ ÀÚŸ¦ µå·¯³»´Â ÀÌÀ¯°¡ ¹Ù·Î ¿©±â¿¡ ÀÖ´Ù. ÀÌÁ¡¿¡ Âø¾ÈÇÏ¿© ÀÛ°¡´Â ¼®Ã¤À§¿¡ ¿ÌÄ¥À» ¿Ã·Á ¹ß»öÀ» µ½´Â´Ù. ±×ÀÇ ÀÛÇ°ÀÇ »ö°¨Àº ¾È·á¿¡¼­ ¾ò¾îÁø´Ù±âº¸´Ù ¿ÌÄ¥¿¡ µû¶ó Á¤ÇØÁø´Ù°í ÇÒ Á¤µµ·Î È­¸é¿¡ ºÐÀ§±â¸¦ ÀھƳ»´Â ±¸½ÇÀ» ÇÑ´Ù. ¾ð¶æ »ý°¢Çϱ⿡ Àç·á¸¦ Ž´ÐÇÏ´Ù½ÃÇÇ ÇÒÁ¤µµ·Î ±×°¡ ¸Å¹ø »õ·Î¿î Àç·á·Î ½ÇÇèÇÏ´Â ±î´ßÀº Àç·áÀÇ Æ¯¼ºÀ» ÅëÇؼ­µµ »ó»ýÀ» ÀÌ·ç°í ±× Àǹ̸¦ º¸¿©ÁÖ¾î¾ß ÇÑ´Ù°í ¹Ï±â ¶§¹®ÀÌ´Ù.

ÀÌ·¸µí »ó»ýÀº ±×ÀÇ ÀÛÇ°¿¡ ÁÖÁ¦°¡ µÉ »Ó¸¸ ¾Æ´Ï¶ó ÀÛ¾÷°úÁ¤ÀÇ Àß ´«¿¡ ¶çÁö ¾Ê´Â ¹Ì¼¼ÇÑ ºÎºÐ±îÁöµµ öÀúÈ÷ ¹Ý¿µµÇ¾î ÀÖ´Ù.

ÁöÇý·Î¿î »î
ÁÖÁ¦Àû Ãø¸é¿¡¼­ º¸¸é, ÀÛ°¡´Â ±Ã±ØÀÇ Àλý¿¡ ´ëÇØ Áú¹®À» ´øÁø´Ù.
¡° Àλý¿¡¼­ ã¾Æ°¡´Â ±æÀº ¼ö¾øÀÌ ¸¹´Ù. ±×·¯³ª ÁøÁ¤ÇÑ Àλý±æÀº ¾îµðÀÎÁö¸ð¸£°í Çì¸Å´Â °ÍÀÌ ÀÏ»óÀÌ´Ù. »ç¹æÀ¸·Î °¥¶óÁø ±æ À§¿¡ ¿ì¸®´Â ¹«¾ùÀ» À§Çؼ­ Àִ°¡?¡±
´õ ÀÌ»ó ±×ÀÇ ±×¸²Àº ¿ÜºÎ¼¼°è¸¦ ÁÖ¾î ´ã´Â ±×¸©ÀÌ ¾Æ´Ï´Ù. Àλý°ú ÀÚ¾ÆÀÇ º»ÁúÀ» µÚµ¹¾Æº¸´Â ⱸÀÇ ±¸½ÇÀ» ÇÑ´Ù. µû¶ó¼­ È­¸é¼ÓÀÇ »ó¡ÀûÀÎ À̹ÌÁö´Â ÁöÇý·Î¿î »î°ú Á÷°áµÈ´Ù. ÀÛ°¡´Â ¿ÜºÎÀÇ Àڱؿ¡ ÈֵѸ®´Â ´ë½Å ¼øÀüÇÑ Á¸Àç¶õ ¹«¾ùÀÌ°í ¼ø¼öÇÑ »ì¾Æ°¨À̶õ ¶ÇÇÑ ¹«¾ùÀΰ¡ ÇÏ´Â ±Ùº»¹®Á¦¿Í ¾¾¸§ÇØ¿Ô´Ù. ±íÀº ÁöÇýÀÇ »ùÀº ÁÖÀΰø ¹Ù·Î ³ªÀÇ °¡½¿°ú ¸Ó¸®ÀÇ ¹ÏÀ½¿¡ ÀÖ´Ù´Â °ÍÀ» ±ú´Ý°Ô µÇ¾ú´Ù°í ÇÑ´Ù. Áï ¹«¾ùÀ» ¹Ù¶óº¸°í °¥¸ÁÇÏ°í Àֳİ¡ ±×¸¸Å­ Áß¿äÇÏ´Ù´Â ¶æÀÌ´Ù. ÀھƸ¦ Á¦¾îµÇÁö ¾Ê´Â ¿å½ÉÀ¸·Î ²Ù¿ª²Ù¿ª ä¿ì¸é ÁöÇý·ÎºÎÅÍ´Â Á¡Á¡ ¸Ö¾îÁö°Ú°í ¼±ÇÑ °ÍÀ» ä¿ì¸é Á¡Á¡ ´õ Çâ±â°¡ Áøµ¿ÇÏÁö ¾Ê°Ú´Â°¡.

±×¸²¿¡ µîÀåÇÏ´Â ²É À̹ÌÁö´Â ÀÛ°¡ÀÇ ¿¹¼úÀû ¼º°ÝÀ» Àß ³ªÅ¸³»°í ÀÖ´Ù. <ÇÏ´Ã>,<Áø¸®ÀÇ Èû>,<ÁöÇýÀÇ ºû>,<±íÀº ÁöÇý>,<¹«ÇÑ°è>,<º¸¸®¼öÇâ±â>,<¿µ°¨>,<Àο¬> µî¿¡¼­ º¸µíÀÌ ²ÉÀÇ À̹ÌÁö°¡ ¸¸¹ßÇØ ÀÖ´Ù. ¸¶Ä¡ ±×¸²¿¡ ¾ó±¼À» °¡±îÀÌ ´ë¸é Çâ±ßÇÑ ²ÉÀÇ Çâ±â°¡ ÀüÇØÁú °Í¸¸ °°´Ù. ¶§·Î´Â ½£¼ÓÀÇ ºûÁٱⰡ ±Ý½Î¶ó±âó·³ ¶³¾îÁöµíÀÌ È­¸é¿¡ ÀÚ°³Á¶°¢À» ºÙ¿© ºûÀÌ ³¯¾Æ´Ù´Ï´Â °Í°ú °°Àº È¿°ú¸¦ ³»±âµµ ÇÑ´Ù. ±×¿¡°Ô ²ÉÀÇ À̹ÌÁö´Â ¹«¾ùÀ» ¶æÇÒ±î? º¸Åë ²ÉÀÌ ¸¸°³µÈ »ý¸íÀ» ¶æÇÑ´Ù¸é ±×¿¡°Ô´Â ¼¼»óÀ» µûµíÇÏ°Ô ÇÏ´Â ºÒºû°°Àº Á¸À縦 ÀǹÌÇÑ´Ù.

¡° ¼¼»óÀÇ ¸ðµç ¾îµÒ¿¡¼­ ¹àÀº ¿ôÀ½À¸·Î ¹àÇôÁÖ´Â ²ÉÀÌ ÀÖ´Ù. Áø¸®°¡ ¹«¾ùÀÌ¸ç ±× Áø¸®ÀÇ ±íÀº ³»¸é¿¡¼­ Ÿ¿À¸£´Â ºÓÀº ²É, ÁöÇýÀÇ ²ÉÀÌ´Ù. ÀÌ ²ÉÀÌ ÇǾî¿À¸£¸é ¼¼»óÀº ÀÚºñÀÇ È¦¾¾µéÀÌ ¿Â´©¸®¸¦ ¼ö³õ°í ´Ù´Ò °ÍÀÌ´Ù.¡±
ÀÛ°¡ÀÇ ¸»¿¡¼­ ¾Ë ¼ö ÀÖµíÀÌ ÀÛ°¡´Â¡®ÀÚºñÀÇ È¦¾¾µé¡¯ÀÌ ¿Â´©¸®¸¦ µ¤´Â
¾Æ¸§´Ù¿î ¼¼»óÀ» ²Þ²Ù°í ÀÖ´Ù. ¾î´À ¶§º¸´Ù ÈäÈäÇÏ°í °¢¹ÚÇÑ ¼¼»ó¼Ó¿¡ »ì¾Æ°¡°í Àֱ⿡ ±×ÀÇ »ý°¢ÀÌ ´õ ºû³ª º¸ÀÌ´ÂÁö ¸ð¸£°Ú´Ù. ÀÓÈ¿ÀÇ ¿¹¼ú¼¼°è´Â ÀÌ ÁöÁ¡¿¡¼­ ´õ¿í ºÐ¸íÇØÁø´Ù. Èñ¸Á¾ø´Â ¼¼»ó¿¡¼­ Èñ¸ÁÀ» ¹Ù¶óº»´Ù´Â°ÍÀº ¸Å¿ì Àý½ÇÇÑ ÀÏÀÌ´Ù. ºñ·Ï Èñ¸ÁÀÌ Áö±Ý ´çÀåÀº ³ª¿Í ¹«°üÇÑ °Í󷳺¸ÀÏÁö¶óµµ ²ÞÀ» Å°¿ö°¥¼ö·Ï ¿ì¸®´Â Èñ¸Á¿¡ °¡±õ°Ô ´Ù°¡°¥ ¼ö Àֱ⠶§¹®ÀÌ´Ù. Áï ÀÛ°¡´Â »çȸÀÇ ¹æ°üÀÚ°¡ ¾Æ´Ï¶ó Èñ¸ÁÀ» ÀüÇÏ´Â ¸Þ½ÅÀú·Î »îÀÇ Áö°¢(ò¢ÊÃ)À» º¯È­½ÃÅ°´Â ÀÏ¿¡ ¾ÕÀå¼­°í ÀÖ´Â °ÍÀÌ´Ù.

±×·±°¡ ÇÏ¸é º¸´Ù °­·ÂÇÏ°í °ß°íÇÑ, ºñ°¡½ÃÀûÀÎ ½ÇÀ縦 Ç¥»óÇÑ °Íµµ ÀÖ´Ù. ¾ÕÀÇ ÀÛÇ°°ú ¸¶Âù°¡Áö·Î ²ÉÀÇ À̹ÌÁö°¡ µîÀåÇÏÁö¸¸ À̶§ÀÇ À̹ÌÁö´Â ž翡 °¡±î¿ì¸ç ºûÀ» ¹æÃâÇÏ´Â ¸ð½ÀÀÌ´Ù. ±×¸²¿¡´Â ¾îµÒÀ» ¹àÈ÷´Â Ä¿´Ù¶õ ºûÀÌ ¼¼»óÀ» ºñÃß°í Àִµ¥ ÇÙ°ú ºû°ú È­¿°À¸·Î °¢°¢ ±¸¼ºµÇ¾î Àִ žçÀÇ À̹ÌÁö´Â Áö»óÀÇ »î¿¡ Èñ¸ÁÀÌ µÇ¾îÁÖ°í ÀÖ´Ù. ÀÌ°°Àº <ÇÏ´Ã> ¿¬ÀÛ°ú °ü·ÃÇØ ÀÛ°¡´Â¡°º¸ÀÌÁö ¾Ê´Â ¼¼°èÀÇ À§´ëÇÑ ¿¡³ÊÁö°¡ ¼­·Î ±³°¨ÇÏ¸ç ¼øÇàÇÏ´Â ¸ð½ÀÀ» Ç¥ÇöÇÑ °Í¡±À̶ó¸é¼­¡°¿¡³ÊÁöÀÇ ¿îÇàÀº Áú¼­ÀÌÀÚ »ý¸íÀÌ »ì¾Æ°¡´Â ¼ÒÅëÀÇ µµ±¸¡±°¡ µÈ´Ù°í ¸»ÇÑ´Ù. žçÀÌ ±ÍÁßÇÑ °ÍÀº °Å±â¼­ »ý¸íÀ» Å°¿ì´Â ºûÀÌ ³ª¿À±â ¶§¹®À̵íÀÌ ÀÛ°¡¿¡°Ô´Â ±×°ÍÀ¸·ÎºÎÅÍ ¹«±ÃÇÑ »ç¶ûÀÌ ³ª¿À±â¿¡ ±ÍÁßÇÏ´Ù. ±×°¡ ²Þ²Ù´Â ¾Æ¸§´ä°í ¹àÀº ¼¼»óÀ» ºÎ¾çÇÏ´Â °ø»ý(Íìßæ),°ø½É(Íìãý),°ø¿ë(ÍìéÄ), °øü(Íìô÷)ÀÇ ±Ù°£¿¡´Â ¹Ù·Î »ç¶ûÀÌ ÀÖ´Ù.

±×ÀÇ Áö·ÐÀº ±¸¼Ó·ÂÀÖ´Â °¡Ä¡°¡ ºØ±«µÉ À§±â¿¡ Á÷¸éÇÑ »çȸ¿¡ °æÁ¾À» ¿ï¸± »Ó¸¸ ¾Æ´Ï¶ó Àΰ£ÀÇ Á߽ɰ¡Ä¡°¡ ¾î¶»°Ô À¯Áö, ÀÛµ¿ÇØ¾ß ÇÏ´ÂÁö¸¦ ¾Ë·ÁÁÖ°í ÀÖ´Ù.
Áö±Ý±îÁö ÀÓÈ¿°¡ °É¾î¿Â ±æÀº ÀÚ¿¬ÀÇ ÀÌÄ¡¿Í »îÀÇ ÁöÇý¸¦ ¹ß°ßÇÏ´Â °ÍÀ¸·Î ¸ð¾ÆÁø´Ù°í ÇÒ ¼ö ÀÖ´Ù. ÀÚ¿¬°úÀÇ »ó»ýÀ» µµ¸ðÇÏ°í ½ÅÈ­¼Ó¿¡¼­ ¾ÆµæÇÑ Àΰ£ÀÇ ¸ð½ÀÀ» ã´Â´Ù°Å³ª °¡ºÎÁÂÀÇ Àΰ£À» ÅëÇØ ±ú´ÞÀ½¿¡ µµ´ÞÇÏ·Á´Â±¸µµÀÚ(Ï´Ô³íº)Àû Ãø¸éÀ» ¹ß°ßÇÒ ¼ö ÀÖ´Ù. ±ÙÀÛÀÌ º¸¿©ÁÖ´Ù½ÃÇÇ ²ÉÀ» ÅëÇØ ÀÚºñ·Î ÃæõÇÑ ¼¼»ó¿¡ ´ëÇÑ ºñÀüÀ» Çü¿ëÇϱ⵵ Çϴµ¥ ÀÌ´Â Á¾ÀüÀÇ ÀÚ¾Æ ¶Ç´Â ³»¸éÀÇ ¼ö¾ç¿¡ ÇÑÁ¤µÇ¾ú´ø µ¥¼­ ÇÑ ¹ßÀÚ±¹ ´õ ³ª¾Æ°¡ Á¶È­ ·Î¼¼»óÀ» °¥¸ÁÇÏ´Â, º¸´Ù ½ÂÈ­µÈ ±¹¸éÀ» º¸¿©ÁÖ´Â °ÍÀ̱⵵ ÇÏ´Ù.



Rim, Hyo,
from visual objects to eternal concepts

Suh, Seong Roek (Art professor at Ahn Dong University)


Rim, Hyo is a multi-talented artist. He has repeatedly made new
transformation of art in every exhibition. This is clearly exposed in
his rugged relief works which derived from the diorama of Indian ink
painting and then through coloring and printmaking. These changes
derived from struggles and experiments in order to conserve
tradition of Korean paintings as well as develop today¡¯s conception
of art.
When Rim, Hyo held his private exhibition at Chosun Daily
Art Gallery in 1990, he expressed Age by using
swirling brush strokes and prime colors, and the outcome was
overwhelmingly astonishing. Not only using Indian ink was popular
around that time, perhaps we can find the cause through Rim,
Hyo¡¯s freely revealing formative dynamism. Age
was the light foretelling his artistic journey. The dynamics of space
configuration and uncontrolled lines and evidence of ink have
encroached upon the artist¡¯s work. However, the artist did not stop
there. This can be easily detected if we look back and see what
kind of artistic journey he has gone through. Even though, Rim,
Hyo showcased a new look in every exhibition, and the fact that he
has maintained the keynote of Korean traditional spirit, he did not
hesitate to do radical experiments.
Rim, Hyo has gone through many changes in order to reach the
work of today. From the mid-80s, Rim, Hyo started from drawing
diorama landscape to expressing dynamic ink strokes and during
90¡¯s, he introduced distinguished coloring expression of the thick
Indian ink lines. He has expressed the magnificent landscape
painting by adding coloring into the bold brush strokes. He even
attempted to put his emotion into some of his works by applying
color and speed to his brush strokes on the objects. We can see
through various experiments he has done for over 10 years since
entering Art group that Rim, Hyo is an artist who tries his own
innovation.

Discovery of Korean Paper
Nowadays, Rim, Hyo¡¯s work has gone beyond the meaning of
traditional Korean concept of painting. Not only we don¡¯t find
traces of the brushing, we see twisted like straw ropes and
muscular shapes that are creeping up on the surface. A simple
minded person may disagree to call his work as ¡®Fine-art¡¯. However,
he has always used the same material - Korean paper. From the
ancient times, Korean paper was a popular material, thus it was
very natural for the artist to use it. The reason that Rim, Hyo¡¯s love
for Korean paper is so special is because he uses the paper as
a main theme and not as a simple material in his work. He gives
Korean paper the leading role of starting off and ending his works.
His discovery of Korean paper goes way back to Relief print works
exhibition held at ¡®Dongsanbang¡¯ Gallery in 1995. During this time,
the artist submitted a small relief work which brought about great
attention due to his use of the paper. Not only did he introduce
pressed paper relief printmaking on engraved surface of porcelain,
but also produced a very unique work by coloring over the pressed
paper to enhance three-dimensional work.
In this work, we can see that the paper itself was actively
participating in molding. Although these trends were active in
Western art, Korean arts were passive about the style back then.
The artist was not satisfied with using Korean paper just as a base
of the painting, but he challenged to show unique concept of
Korean paper itself. His relief print making works perhaps stimulated
traditional Korean art, plus opened the gate between tradition and
modern art for the young artists.
However, this work did not last long due to unexpected
circumstances. In other words, in order to create a porcelain plate,
there is a constraint to meet the size of an oven, thus limiting the
size to #10(20.9in. X 17.7in.). Therefore, the artist had to give up
making the relief printmaking. Then, several years later, Rim, Hyo
presents an abstract pattern series named, nature>. In this work, he focuses on various expressions of Korean
paper. Not only smearing of Indian ink and its brush strokes are
outstanding, but also the texture of the base surface is completely
pronounced. In particular, we can see a glimpse of his will to
experiment on series. At this time,
his unique techniques, ¡®ink dyeing¡¯ and ¡®ink varnishing¡¯, begin to
appear. ¡®Ink dyeing¡¯ is soaking mulberry paper in water in order to
extract the color and ¡®ink varnishing¡¯ is applying lacquer on top in
order to prevent discoloration. Especially, in the case of ¡®ink dyeing¡¯,
it has the advantage of getting the natural effects of the color by
putting the dye into water soaked Korean paper. We can see
how much the artist has put his effort into inventing the molding
methods.

Joining and Connecting
In recent years, Rim, Hyo¡¯s work became even bigger in amplitude
and has actively changed. I could sense the trace of his distress
as I entered his workshop. There were two #200 (102in. X 64in.)
canvases stretched on the floor where Korean paper lay quietly
on top waiting to be operated by the artist. One soaked mulberry
paper was in the process of drying and the other paper was
pressed, folded and operated on everywhere. The ¡®weapons¡¯
which inflicted those wounds on paper were placed disorderly next
to the papers. Usually, any normal artist would bestow the image
on the paper directly to save time, but Rim, Hyo was insisting on
the difficult process.
Thus, the body and physical material are contacted closely in his
work. The artist¡¯s physical gestures are vital in order to make raw
mulberry paper into a finished work.
However, excessive physical involvement can break its originality
of the material, thus it is important to keep the boundary between
them. Once it¡¯s filled, then the emptying starts. This is perhaps to
send the nature back to the nature in order to keep its original form.
There¡¯s more to why he is so immersed in his art then just feeling
self-fulfillment when the work is done. The artist equally emphasizes
the process of the works. The artist put together the ground and
the relief work by adding mulberry paper in water and then laying
flat on the canvas to dry for extensive period of time, then he molds
the paper by using the tools. Other artists often stop at the general
grading which is the ground work before applying color, but in case
of Rim, Hyo, joining and connecting play critical role in his works.
Thus, putting mulberry paper on top of another is to narrow the
difference in the gaps.
This kind of ¡®coexistence¡¯ expression also appears in lacquering
process. As we can see it on ¡®lacquer inlay with mother-ofpearl¡¯,
the artist uses lacquer in order to prevent discoloration and
corrosion. However, there is another reason for applying lacquer.
Lacquer tends to become deeper and transparent as time goes
by. No matter how dusty ¡®pearl lacquer¡¯ is, it still reveals its elegant
character. With that advantage, the artist adds lacquer on top of
stone powder in order to enhance the color. The color of his work
derives from the lacquer and not from the pigment. The reason
he experiments with new materials every time as if he is indulging,
is because he believes that he needs to show the meaning of
¡®Coexistence with nature¡¯ through the characteristics of materials.
Therefore, not only ¡®Coexistence with nature¡¯ is the main theme in
his work, but it is also reflected even in the smallest details.


A Wise Life
The artist throws a question about the final life from the subjective
point of view.
¡°There are many countless directions in living life¡±. However, people
constantly wander not knowing where life¡¯s true road is. For what
do we stand on these split roads for?
He no longer contains the outside world in his paintings. His
painting works as the window that can look back the essence of
life and self. Therefore, the iconic image in the screen is directly
connected to the life and wisdom. Instead of being stimulated by
external forces, the artist has struggled with a fundamental problem
of how to exist and live a pure life. He said the fountain of wisdom
is believed to be in the faith of his heart and mind. Which means, it
is that important to know what we are looking and longing for. If we
fill ourselves with uncontrolled greed, we would be far away from
wisdom, but if we fill ourselves with good things, then we would
give out good vibrations.
A flower image that appears in his works shows the artistic
characters of the artist. As we can see in ¡°Sky¡±, ¡°The Power of
Truth¡±, ¡°Wisdom¡±, ¡°Deep Wisdom¡±, ¡°Infinity¡±, ¡°Linden Scent¡±,
¡°Inspiration¡±, ¡°Fate¡±, etc, the images of flowers are in full bloom.
We can almost smell the fragrance of the flowers if we put our face
close to the paintings. Sometimes the painting gives glittering effect
of the lights by pasting lacquer pearl pieces on the screen like a
falling golden rain in the forest. What does an image of a flower
mean to him? If a flower can mean a fully bloomed life, then to Rim,
Hyo, flower is like the existence of a warm light that shines upon the
world
¡°There is a flower that brings bright laughter to all the darkness
in the world. A flower of wisdom tells us what true principles that
flame deep inside are.
Once a flower blooms, the merciful spores will spread all over the
world.¡±
As we can see from the artist¡¯s writing, the artist dreams of a
beautiful world of mercy. Since we live in a heartless world, his
thoughts may stand out more. Rim, Hyo¡¯s art world becomes even
more evident at this point. Seeking for hope in a hopeless world
can be serious. Although the hope may be seemed irrelevant at
present time, we can get closer to hope as our dream gets bigger.
That is, the artist is not a social spectator, but he is acting as a
messenger for leading the change in life¡¯s perception.
In addition, he has represented invisible reality through more
powerful and robust way. As with the previous work, the image of a
flower appears in this work, but the image now is similar to the sun
and shows release of lights. In this painting, there is a huge light
that shines upon the darkness of the world, which the image of the
sun that consists of core, light, and flames, gives hope to earthly
life. In respect to ¡°Sky¡± series, the artist tells, ¡°a scene of expressing
world¡¯s greatest energy that can¡¯t be seen by the naked eye that
is giving a sympathetic parade¡±, and thus ¡°the movement of the
energy is a communication tool for living the life in order.¡± As the
sun is important in giving out the light for raising life, Rim, Hyo finds
it precious because it gives out everlasting love. There is love in his
dream of a beautiful and bright world. Not only his theory alarms
the society in the verge of collapse in value, it tells us how human
should run and maintain the center value.
We can see the paths that Rim, Hyo has walked on, are composed
of natural principle and wisdom of life. We can discover religious
perspective through Buddha and by promoting coexistence with
nature and find the human portrait image from mythology. As
demonstrated in his recent works, he shows a vision of a merciful
world through flowers which shows more upgraded look for
wanting harmonious life from limited previous self-discipline of inner
training.