By the age of fifty, the crawling urge to presue the journey in search of our lost history became a clear providence, and it made me extend my work to publish ‘Goguryeo’, in continuance of my previous works on ‘Ancient Silence – The Dolmens’ and ‘Balhae’. As we all know, Goguryeo was disappeared from the history 1,400 years ago, but it was a powerful kingdom with its horse-riding people who have had re-gained the territory of the previous Dangun-Joseon, who had played the critical role in the Eastern history. But what I must confess at this point is that the kingdom called Goguryeo did not actually exist. There had been Goryo(高麗) instead. It is assumed that it might have been called Kori or Gaoli. It is withrawn from the fact that we can find some villages with the ancient documents, relics and monuments, where are still called by those names in Manchuria. The name Goguryeo that we call today might have been modified at a later stage to differentiate from Goryo that was founded by Wang Jian, thus let’’s leave it as so for its convenience.
Despite of my strong will to find our lost history and to reveal the truth underneath, I have focusing on my own profession of being the photographer that captures the raw evidences on the spott. My calling is to approach to those traces in an artistic and narrative perspective, not in an academic way. My mind often floats above the wilderness in pursuit of finding the answers through the things that I can see both with my outward and spiritual eyes.
Some say, history is written by the victors, but in fact, there are no real victors in human history, rather it continues incomplete. The heaven remembers the truth.
고인돌은 지금으로부터 대략 2,500년 내지 5,000년 전인 신석기 말기부터청동기 시기의 산물로 거대한 돌을 이용한 묘지 및 제단으로 알려져 있는 고대의문화유산이다. 그 분포는 한반도 서남해안 일대와 만주지역, 일본 북큐우슈우,
중국 제지앙성(浙江省) 일대에 주로 몰려 있으며, 소수이기는 하나 남인도와 베트남, 인도네시아를 비롯한 기타 다른 지역에까지 분포되어 있다. 특히 동북아일대의 고인돌들은 현재 국경을 달리하고 있지만, 우리 민족 고대사 형성과 밀접
한 관계가 있는 거석문화유산이다. 또한 일부는 현존하는 인간이 만든 것 중에서세계에서 가장 오래된 건축물로 간주되며, 10여 년 전 늦게나마 그 가치가 인정되어 유네스코의 ‘세계문화유산’으로 등재되었다.하지만 아직도 몇 군데를 제외한 모든 곳에서 그 관리가 소홀하고 도로공사, 농지정리 등의 원인으로 귀중한 문화유산이 소실되어 가고 있는 실정이다. 특히 만주지역에서는 주민들의 인식 부족과 관심조차 없어 여기 저기 흩어져 있는 ‘스펑(石棚)’이라고 말하는 고인돌을 찾아내 촬영한다는 것은 그야말로 옛날에 한양에가서 무작정 김서방 찾는 식의 보물찾기나 다름없는 현실이다.최근에는 한반도의 고대문화가 지금까지의 일반화된 ‘북방문화도래설’에서 벗어나 일부 학자들 사이에서 이 고인돌을 중심으로 하는 ‘남방문화도래설’을 새롭게주장하고 나서 국제학술대회를 갖는 등 그 관심이 고조되고 있다. 이에, 이 소중
한 문화유산을 체계적으로 관리하는 차원을 뛰어넘어 그 가치를 재인식하고 무구한 세월의 무게를 함께 느껴보면서 시공을 넘나들고자 한다. 20여 년 동안 국내외 곳곳을 누비며 촬영해 오는 과정에서 그 작업이 쉽지만은
않았다. 먼저 곳곳에 꼼꼼히 박혀있는 것들을 찾아내는 것이 문제였는데, 특히말도 잘 통하지 않는 만주지역에서는 어렵사리 찾아내 촬영한 것들을 이런 저런일들로 공안당국에 압수당하는 경우도 여러 차례 있었기 때문이다. 그 중에서도
가장 어려웠던 것은, 확연하게 구별되는 탁자식과는 달리 기반식이나 개석식 고인돌들은 얼핏 보면 그냥 평범한 바윗덩이처럼 보이기 때문에 그 고인돌 냄새가나는 앵글을 찾고 시기를 맞춘다는 것에 많은 시간을 소모해야 했다.오래 전부터 해 오던 작업인지라 대형 포맷의 아날로그 필름을 위주로 사용해 왔으며, 디지털이 대세인 지금에 와서도 그 기준을 지키면서 디지털 촬영은 보조로활용해 오고 있다. 질적인 면에서 큰 차이가 느껴지지는 않지만, 고인돌이 주는느낌을 고려해 흑백 필름을 우선적으로 선택해 온 것은 나름대로의 고집이라 할수 있겠다. 또 촬영의 주안점은 사료적 의미를 넘어서 그 오래된 침묵을 대변하고 상상할 수 있도록 하는 시각적 의미에 비중을 두었다.이제 그 오랜 작업을 마무리 하고 정리하는 과정이지만 결코 이 작업을 끝내는것은 아니다. 오래된 침묵으로 자리를 지켜 온 이 소중한 문화유산이 놓아주지않기 때문이다. 한 가지 아쉬운 점이 있다면, 북한의 평양 부근과 황해도 일대에있는 것들을 분단의 현실로 인해 찾아 나설 수 없었다는 것이다.바람이 불고, 비가 오고, 눈이 내리는 가운데 오늘의 시간 또한 그렇게 스며들고있다.
2011년 2월 박 하 선
ในวัย 50 ปี เส้นทางการค้นหาประวัติศาสตร์ที่หายไปของเราเริ่มคลี่คลายและชัดเจนมากขึ้น ทำให้ฉันตัดสินใจนำเสนอชิ้นงาน “Goguryeo” ซึ่งเป็นภาคต่อจากงานชิ้นก่อนอย่าง “Ancient Silence – The Dolmens” และ “Balhae” เราทราบกันดีว่า Goguryeo ได้ลับหายไปจากหน้าประวัติศาสตร์เมื่อ 1,400 ปีที่ผ่านมา แต่ความยิ่งใหญ่ของอาณาจักรที่ซึ่งได้ปราชัยจาก Dangun-Joseon บุคคลที่มีบทบาทแห่งประวัติศาสตร์ตะวันออก แต่ฉันต้องสารภาพว่า อาณาจักรที่ชื่อว่า Goguryeo นั้นไม่มีอยู่จริง หากแต่ว่าคืออาณาจักรที่ชื่อว่า Goryo หรืออาจเป็นไปได้ว่ามันอาจถูกเรียกว่า Kori หรือ Gaoli ทำให้ครุ่นคริดถึงข้อเท็จจริงที่ว่าเราอาจสามารถพบหมู่บ้านบางหมู่บ้านที่มี หลักฐานเก่าแก่ทางประวัติศาสตร์ โบราณสถาน หรืออนุสาวรีย์ ที่ยังคงถูกเรียกด้วยชื่อของมันตั้งแต่ยุคแมนจู ชื่อ Goguryeo ที่เราใช้เรียกในทุกวันนี้ก็อาจจะถูกปรับเปลี่ยนในภายหลังเพื่อให้เกิดความ แตกต่างจากชื่อ Goryo ที่ถูกค้นพบโดย Wang Jian ถึงแม้ว่าความตั้งใจของฉันคือการค้นหาประวัติศาสตร์ที่หายไปและเปิดเผย ความจริงภายใต้ประวัติศาสตร์นั้น ฉันได้ตั้งมั่นที่จะเป็นช่างภาพที่เก็บภาพที่แท้จริงของสถานที่ สิ่งที่ฉันต้องการคือการเข้าใกล้ร่องรอยเหล่านั้นด้วยมุมมองแบบศิลปะไม่ใช่แบบวิชาการ หัวใจของฉันพองโตและตื่นเต้นไปกับการค้นหาคำตอบผ่านสิ่งต่างๆที่ฉันมองเห็นผ่านสายตาทั้งทางรูปและวิญญาณ บางคนกล่าวว่า ประวัติศาสตร์ถูกเขียนด้วยผู้ชนะ แต่ในความเป็นจริง ไม่มีผู้ชนะที่แท้จริงในประวัติศาสตร์แห่งมนุษยชาติและจะยังคงไม่สมบูรณ์แบบอยู่เช่นนี้ ความจริงนั่นแหละคือสิ่งที่สวรรค์จะจดจำ
A Gwangju native(b. 1954) Park, Ha-seon has held 16 solo exhibition by invitation including the first one, The
Ocean(1980), and others such as The Silk Road(1990), Tibet(1991), Beyond Civilization(2000), and Heaven’s
Will. He has also participated in numerous group shows at home and abroad including People in the Time 1945-
2005: Sixty Years of Korean Photography(2006) and Daegu Photo Biennale 2006 thematic exhibition The years of Contemporary Korean Photography(2008). Working as a freelance photographer, he has taken
pictures and written for a variety of media. Serving as the leader of Beyound Civilization, a travelers group, he has devoted himself to image work concerning Korean people’s ancient history and is absorbed in publishing
an Epic Historical Documentary.
박 하 선(朴 夏 善, Park, HaSeon)
1954년 광주에서 출생. 1980년 ‘대양’展을 시작으로 ‘실크로드’(1990), ‘티벳’(1991), ‘문명의 저편’(2000), ‘천명(天命)’,‘太
王의 증언’(2017) 등 16차례의 개인전과 초대전을 가졌으며,‘광복60년, 사진 60년-시대와 사람들’(2005), ‘2006 대구 국제사진비엔날레’ 주제전, ‘한국현대사진 60년’(2008), ‘동학’(2016)을 비롯한 국내.외 다수의 그룹전을 가졌다. 현재 자
유사진가로 활동하면서 많은 매체에 기고중이며, 여행집단‘문명의 저편’ 단장을 맡고 있고, 세계 오지 및 분쟁지역,
그리고 한민족 상고사 영상 작업에 심혈을 기울이며 ‘대하역사다큐멘터리’ 출판 작업에 몰두하고 있다.
작품집으로「삶의 중간보고서」(1999),「天葬」(2002),「문명 저편의 아이들」(2005),「천불천탑」(2007),「생명의갯벌」(2009),「오래된 침묵(Ancient Silence)」(2011),「발해의 恨」(2012),「住」(2014),「太王의 증언」(2017) 등이 있다. 티벳의 장례의식을 담은 사진 ‘天葬’으로 ‘2001 World Press Photo 상’을 수상했다.