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[한국미술사] 한국미술사 연구(2019~2020년)에 대한 회고와 전망, 그리고 제언
고연희(Kho, Youenhee) 역사학회 2021 역사학보 Vol.- No.251
A review of four books and more than four hundred academic papers published during 2019 and 2020 on Korean artworks produced before 1945, reveals the following prospects and expectations. The increasing interest in the social, religious, and political meaning and function of art, rather than in art itself, gives rise to the expectation that interdisciplinary research in art history and other academic circles will deepen and the academic status of art history be enhanced. It is also anticipated that growing research on painting and ceramic history in the first half of the twentieth century, including various modern media, will narrow in scope to become more precise. Continued reflection on the perspectives of Korean art history written by previous generations related to the selection of masterpieces, the influence of collections, and the perception of tradition is also predicted. Discussions on Korean art held overseas and Korean art history recorded in North Korea, along with an increasing interest in cultural heritage indicate the potential for multilateral research and activities. The development of scientific investigations and the establishment of a related database will likely provide comprehensive assistance in understanding the nationality, timing, and level of the artwork. Finally, research that transcends genres should be more actively attempted.
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‘조선후기 회화’의 연구사 : 풍속화의 재발견과 단원 김홍도(檀園 金弘道)
김소연 이화여자대학교 한국문화연구원 2019 한국문화연구 Vol.37 No.-
This study focuses on the history of research on the paintings of the late Joseon period, especially in the process which Korean art history was established as a part of modern studies. It attempts to understand the change in status and historical recognition of genre paintings, which was magnified as the main genre of the paintings of late Joseon period, and focuses on Kim Hongdo as a representative painter of the paintings of the late Joseon period. The Japanese, who depicted Joseon art during the Japanese colonial period syntactically did not pay attention to paintings of late Joseon period; thus, Kim Hongdo’s position in the art history was not very great. However, Kim Hongdo is regarded as a central painter of art history of Joseon nowadays; genre painting, his forte, is being considered as the essence of paintings in Joseon period. Thus, this study meticulously investigates the change in recognition and description of genre paintings of late Joseon period in research on paintings of late Joseon period in modern times; especially, it focused on the cause which brought the general opinion that as a representative painter of late Joseon period, how Kim Hongdo is equated with genre painter. In the process, various observations were made: investigations and collections for public exhibit of museums and art galleries were deeply connected to the early research of Joseon art by the Japanese; literary magazines such as 『Gaebyeok』 and 『Munjang』 became the stage that raised the late Joseon period and the pictorial art of that time, which was seen as a period that had sunk due to Confucianism and party strife, as a new golden age that promoted national culture. Also, during the formation of art history of late Joseon period, the genre paintings of Kim Hongdo were rediscovered as Joseon-like, realistic, modern, and sometimes revolutionary genre; at the same time, however, as his paintings of Taoist hermit were understood as Chinese, irrational, unrealistic, and a product of imagination, the text on such paintings receded. 본 연구는 한국미술사가 근대학문으로서 본격적으로 구축되는 과정에서, 각별히 조선후기 회화의 연구사에 주목하고 있다. 특히 조선후기 회화의 주요 장르로 부각된 풍속화의 위상변화 및 시대적 인식을 이해하고, 조선후기를 대표하는 화가로서 檀園 金弘道(1745-1806)에 초점을 맞춰보았다. 일제강점기 조선미술을 통사적으로 서술하기 시작했던 일본인들은 조선후기 회화에 관심을 보이지 않았으며, 김홍도 역시 미술사 서술에서 차지하는 부분이 크지 않았다. 그러나 오늘날 김홍도는 조선회화사의 중심적 존재로 인식되며, 특별히 풍속화는 김홍도의 特長이자 전통회화의 精髓로 부각되고 있다. 이에 근현대기의 조선시대 회화사 연구에 있어서 조선후기, 풍속화에 대한 인식변화와 서술양상을 면밀히 살피고, 조선후기의 대표적인 화가 김홍도=풍속화가의 통설이 작동하는 계기에 초점을 맞춰보았다. 이 과정에서 박물관, 미술관의 공적 전시를 위한 조사·수집과 일본인들의 초기 조선미술 연구가 깊은 관련 하에 있었다는 점, 『개벽』, 『문장』과 같은 문예지가 유교와 당쟁에 침몰해버린 시대로 비추어졌던 조선후기와 그 시대의 회화예술을, 민족 문화가 창달했던 새로운 전성기로 선양하는 무대가 되었음을 관찰했다. 또한, 조선후기 회화사의 형성과정에서 풍속화는 조선적, 사실적, 근대적, 때로는 혁명적 장르로 재발견되며 김홍도를 대표하는 장르로 부각되었으나, 동시에 신선도는 중국식, 비합리적, 비사실적이며 상상의 산물로 이해되기 시작하면서 김홍도의 신선그림에 대한 텍스트는 점차 희미해졌음을 살펴볼 수 있었다.
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