An artist, Oh Yun(1946~86)’s theory of people’s art during his final period issummed up in his essay ‘Expansion of Artistic Imagination and World’(1985).Emphasizingthe mystic and traditional characteristics of Oh Yun’s artistic oeuvre during his final period,some critics focus on Oh Yun’s experience of medical treatment and shamanistic custom atJin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of theUniverse. However, they forget the practical intention and implication of his theory of artduring his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun’s essay criticized the loss of artistic imagination and the ignorance oftraditional culture that resulted from the elevation of science to a religion, and insisted thatthe stereotyped idealism, scientism and elitism in art should be overcome in order torecover the full reality in realism and to continue traditional cultures. The essay iscomprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d’art,and neo-dadaist art, saying that they were simply mechanical forms of modern art derivedfrom scientism and a fetishistic lens culture. In addition, he criticized naturalism in art,which had continued as a tendency in the development of western art, for the samereason. He pointed out that even the world of realism had been diminished by elitestereotypes and diagrams. He declared the need to overcome the imitation of shells orstereotyped propaganda, and recover full realism, which seems to have started with areflective examination of current problems in ‘Reality and Utterance’, in which heparticipated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic issame as the theory of epic theatre that Bertolt Brecht(1898~1956)has developed under theancient Greek masque and Pieter Bruegel the Elder(1525~69)’s story-like picture style. Theuniversality of realism and the extension of acquisition to include incantation art,rather thanmove toward incantation art, is what Oh Yun intended to propose in ‘Artistic Imagination’.This attitude is same as Bertolt Brecht’s aesthetic viewpoint in the 1930s. But regrettably,Oh Yun’s style wording, which seems covert and far-sighted, is often misunderstood as‘mysticism’. In the flow of people’s art in the 1980s, Oh Yun was a traditionalist in a narrowsense, and an realist in a broad sense. However, his critical mind, which comprehendstradition and reality, was attempting to expand universality and extend full realism, and thisattempt found many sympathizers and had an influence on the next generation of people’sartists, such as 「Levee」which is field-centered, to which we should pay attention. Thismeans that while their works thought about ‘tradition’, we should be careful not to connectthem with‘aesthetic conservatism’or ‘classical art’. This is the why the meaning of Oh Yun’stheory of art during his final period should be closely examined again.

松臺 河璿(1583-?)은 경상남도 진주시 수곡면 사곡리에 세거한 晉陽河氏 判尹公派의 士人이다. 그의 조부는 喚醒齋 河洛(1530-1592) 이고, 從祖父는 覺齋 河沆(1538-1590)이며, 伯父는 松亭 河受一 (1553-1612)인데, 이들은 모두 南冥 曺植(1501-1572)의 高弟이다. 이로써 수곡의 진양하씨는 江右 지역 南冥淵源家를 대표하는 문중임을 알 수 있다. 임진왜란이 일어난 1592년 4월 경상북도 상주에 있던 조부와 부친이 함께 왜구의 손에 목숨을 잃었고, 당시 열 살이던 하선은 진주 수곡 으로 돌아와 일생 문중을 건사하고 계승하는 것으로 삶을 영위하였다. 이후 나라에서 조부와 부친의 죽음을 忠孝의 표상으로 추숭하여 旌閭 하였고, 이를 계기로 송대의 가문은 忠孝家로서의 위상을 드러낼 수 있었다. 하선은 선현을 현양하고 후손에게 계승시켜 주기 위해 다양한 활동을 전개하였다. 만년에 『松亭集 』과 『覺齋集 』의 跋文을 쓰고, 문중의 世系를 정리했으며, 나아가 상주에 있던 조부와 부친의 묘소를 수곡으로 이장하고 白軒 李景奭(1595-1671)·東溟 鄭斗經(1597-1673) 등 당대 저명한 인물에게서 조부와 부친의 墓碣과 碑文을 받아냄으로써 문중의 위상을 드높였다. 이는 松臺家의 후손이 이후 수곡 진양하씨 문중의 일원으로 세거할 수 있는 터전을 마련한 대표적 활동이었다. 또한 하선은 지방에 세거한 재야지식인이었으나 전란 이후 국가의 시책에 끊임없는 관심을 보였고, 특히 전란의 참상을 몸소 체험한 만큼 兵制의 폐단에 더욱 절실하였다. 효종 임금이 즉위한 후 재야인사에게 국정에 반영할 시책을 구하자, 하선은 5천여 자의 상소문을 지어 당시 만연하던 여러 폐단과 이를 해결한 구제책을 올렸다. 조정에서는 이 상소의 내용을 인정하여 公論으로 하선에게 主簿 벼슬을 하사하였는데, 이로써 하선의 士意識과 현실인식이 당대에도 인정받을 만큼 시의 적절한 것이었음을 확인하였다.