1970-80년대의 한국화 경향 연구 - 현대진경과 수묵화 운동을 중심으로 -

김미진 ( Kim Mijin ),강지은 ( Kang Jieun ) 한국영상미디어협회 2018 예술과 미디어 Vol.17 No.2

일제강점기 시절 우리나라 한국화 화단은 일본에 의해 전통이 은폐되었고, 해방 이후 뿌리를 되찾기도 전에 서양의 조형주의가 무방비하게 유입되었다. 해방이 되자 전통화단이라고 불리어왔던 한국화 화단은 전통을 바로 세워 일본 색을 제거해야 하는 의무를 지녔을 뿐 아니라 새로운 미술사조에 적응해야 했다. 전통에 대한 모색과 미적 모더니티 사이에서의 실험과 변혁에 관한 문제는 한국화 화단에서 늘 추구해 나가야 할 가치와도 직결된다.60년대 들어서 나타난 추상 경향의 동양화는 기존 전통산수를 시대착오적이라 지적하며 입체주의와 추상표현주의를 참고하여 화면을 구성했다. 1970대에 들어서면서 한국화 화단은 전통을 진경 내지 수묵정신으로 삼고, 소재와 매체를 적극적으로 실험하기 시작한다. 한국화 분야에서 1970-80년대의 시기가 중요한 이유는 전통과 현대성 사이의 균형을 비교적 잘 이루었다는 점이다.1960년 후반부터 전통 회화와 관련된 논문과, 단행본, 도록 등이 활발히 출간되었고, 전통회화에 대한 전시가 잇달아 개최되었다. 이러한 사회적 분위기에 따라 70년대에 들어서 한국화 화단은 전통을 재 고찰하기 시작했고, 이에 맞는 시대 미감과 화면의 현대적 구성을 위해 실험을 주저하지 않았다. 이 연구는 1970-80년대 현대진경과 수묵화 운동을 중심으로 전통과 현대성 사이에서 혁신적 실험을 하고자 했던 한국화 분야의 움직임에 대한 분석이다. 현대진경은 평범하고 일상적인 소재와 함께 진경의 전통을 화폭에 담아내어 현대적인 미감을 보여주고자 하였다. 한편 수묵화 운동 진영은 동양 정신을 수묵으로 삼고 먹, 붓, 종이, 색채 등 한국화의 순수한 매재(媒材)를 적극적으로 실험하며 수묵의 다양한 모습을 발견하는 것으로부터 현대성을 추구하였다. 1970-80년대 한국화의 집단적 움직임의 의미는 한국화 정체성에 대한 확인이며 고루하다고 치부되었던 전통을 현대적으로 인식시킨 점이다. 전통과 현대, 동양화와 서양화 등의 경계가 사라지고 있는 동시대 미술환경 안에서 이 연구는 한국화의 정체성을 재확인 하는데 의의를 둔다. The tradition of the Korean painting circles was concealed by Japan, and after liberation, Western Plasticism was defenselessly introduced before the root was restored. The traditional painting group was obliged not only to remove the Japanese style by reviving the tradition, but also ought to adjust to the new art history. The issue of experimentation and transformation between the search for tradition and aesthetic modernity is also directly connected with the value that must be pursued in Korean Oriental painting.Since the late 1960s, theses, monographs and catalogues related to traditional paintings have been held one after another. In response to this social atmosphere, the Korean Oriental paintings circles began to rethink the tradition from the 70s, and did not hesitate to experiment for the timely aesthetic and contemporary composition of the period. They began to experiment with materials and media actively based on real landscape painting and traditional ink painting as primary sprit. In the field of Korean Oriental painting, the period of 1970-80 is significant considering that the balance between tradition and modernity is relatively well established.The collective movement of Korean Oriental painting in the 1970s-80s. the Modern Real landscape and the Sumuk-movement, reconfirmed the identity of Korean painting and provided the cognition on the tradition that has been regard as an outdated in a modern way. In contemporary art environment, this study has significance in reaffirming the identity of Korean Oriental painting.

1970~1980년대 신형상 세대의 한국화 - 극사실 경향에서 민중미술까지

이민수 한국근현대미술사학회(구 한국근대미술사학회) 2020 한국근현대미술사학 Vol.39 No.-

After the mid-1970s, a new atmosphere was created in the Korean art world by the formation of a unique figurative art. This stream is represented by the so-called Hyperrealism, which was mainly spread out through consecutively held large-scale private sponsored exhibitions such as The Grand Art Exhibition of Korea, Donga Art Festival, and Joongang Fine Arts Prize. These exhibitions all claimed to support ‘originality’ and ‘figuration.’ To begin with, they carry repellent meanings toward Informel, Dansekhwa, and other abstractive tendencies. These events were also called as ‘new figuration’ to be distinguished from existing and unchanging conceptions spread by The National Art Exhibition of The Republic of Korea. I highlight that the emphasis on this ‘new figuration’ brought great differences to trends in Hangukhwa (Korean painting). Artists who sought for their direction to modern Hangukhwas from traditional paintings were awarded not only in private exhibitions, but also in The Grand Art Exhibition of The Republic of Korea by submitting numerous hyper-real Hangukhwas. The combination of Hyperrealism and Hangukhwa seems incompatible in an instant, then what does this fusion mean? Such phenomenon cannot be interpreted solely by focused discourses on the existing combination of ink wash painting and abstraction. Therefore, this study retraces Hangukwha with the flow of ‘figuration’. In other words, it will compare and contrast how figure is expressed in traditional and modern Hangukhwas. This examination should be started from the hyper-real Hangukhwas. By this, the study analyzes and understands Real-Scenery Landscapes and urban landscapes in the 1970s, the ink painting movement in the early 1980s, and Hangukhwa affiliated with Minjung Art in the context of art of the same period. 1970년대 중반 이후부터 우리 미술계에는 독특한 구상(具象)(figurative) 미술이 하나의 기류를 형성했다. 이른바 극사실주의로 대표되는 이 흐름은 당시 잇달아 개막한 《한국미술대상전》, 《동아미술제》, 《중앙미술대전》과 같은 대규모 민간 주최 공모전(이하 민전)을 통해 주로 전개되었다. 이들 민전이 표방한 것은 ‘새로움(New)’과 ‘형상성(Figuration)’이다. 여기에는 우선, 1960년대와 70년대 전반까지의 앵포르멜, 단색화와 같은 추상 경향에 대한 반발의 의미가 깔려 있었다. 또한 기존 《대한민국미술전람회》에서 만연한 구태의연한 구상과 구별하기 위해 ‘새로운 형상’으로 지칭되었다. 필자가 주목하는 것은 이 ‘새로운 형상성’의 강조가 당시 한국화의 경향 변화에도 많은 영향을 미쳤다는 점이다. 전통회화에서 현대 한국화로의 방향을 모색하던 화가들은 민전뿐만 아니라 《대한민국미술대전》에 극사실 경향 한국화 작품들을 대거 출품해 입상했다. 언뜻 봐도 어울리지 않는 듯한 극사실기법과 한국화의 결합은 무엇을 의미하는가? 이 같은 현상은 기존의 수묵과 추상의 관계에 집중된 논의를 통해서는 결코 설명될 수 없다. 따라서 본 논문에서는 ‘형상성’의 흐름으로 한국화를 다시 기술한다. 즉 전통회화에서의 형상 표현과 현대 한국화에서의 그것이 갖는 공통점과 차이를 극사실 경향 한국화를 기점으로 살펴본다. 이를 통해 1970년대 실경산수화와 도시풍경화, 이후 1980년대 전반기의 수묵화운동, 그리고 민중미술 계열 한국화를 동시대 미술의 문맥에서 분석하고 파악한다.

1980-90년대 한국화의 수묵추상

송희경 ( Hee Kyung Song ) 미술사와 시각문화학회 2014 미술사와 시각문화 Vol.13 No.-

Ink stick was the most important tool for expression in East Asian Paintings to show what intellectuals thought and how their daily lives were at that time, which had been expressed in a unique visual language as time passes by. It was a fixed material for the Real-Scenery Landscape Painting that had kept traditional painting techniques in the modern period. It was also used as a core material for ink painting based on the concept of Literary Painting. The mutual exchange and junction between ink painting and the idea of abstraction were found in Mukrimhoe that was established in the 1960s. The members of Mukrimhoe pursued nonobjective art that focused on Orientalism while they were blamed for being followers of western expressionism. For them, ink painting was just a tool for nonobjective art. They considered ink stick as an item for visualization regardless if it was used for a nonobjective art or not although being insisted that the Ink Painting Movement in 1980swas a succession to the Orientalism. It was during the late 1980s that abstract ink painting had been settled down. Painters engaged in abstract ink painting tried to synchronize their feelings with the use of ink stick and did not cling to the metanarratives of conventional Orientalism. They actively accepted the influential Korean abstract ink painting that came from western abstraction and even tried to show a new possibility beyond it in rich and expressive ways.

1980년대 한국화의 상황과 갈등

이민수(李旼修) 한국미술연구소 2014 美術史論壇 Vol.- No.39

Interests in `ours` such as `tradition`, `reality` and `Korean(韓國)` are increased when there is a situation stimulating them, in other words, when external influence is appeared or the condition is given. `Korean painting(韓國畵)` should be also grasped. In the mid-1950s, Cheongkang Kim, Young-ki(晴江 金永基, 1911~2003) advocated `national painting(國畵)` and `new Korean painting(新韓國畵)` when our traditional painting circles were about to advance to international stage. And then, Korean artistic circles in the 1970s after the 1960s encountered regular situation of contemporary art, globalization of art and development of artistic market. So, developmental aspect of Korean painting in the 1980s shows a series of responses from interests in `ours` to our `reality`, furthermore, `contemporaneity`. Active experiences and seeking including `ink wash painting movement` in Korean painting area of the 1980s were very noticeable and there were lots of discussions about them. But, it means that external conditions and situations were more deepened. Actually, representative modifiers attached to Korean painting of the 1980s were `depression`, `problems` and `prospect` and it`s supported by the fact interests of people and artistic circles in Korean painting were rapidly reduced from 1986. Finally, Korean painting was thoroughly excluded in Olympiad of art and Korean contemporary art exhibition which were planned as a part of 1988 Seoul Olympics cultural event, so `alienation of Korean painting` was visualized. This thesis intended to go back to the 1980s when fierce discussions about Korean painting were displayed and consider the aspects so as to diagnose the process of `alienation of Korean painting`. It can be an essential process to continue following discussions in connection with current situation of Korean painting.