한국 근대기 미술 유학을 통한 ‘동양화’의 추구

김소연(Kim So-yeon) 한국근현대미술사학회 2014 한국근현대미술사학 Vol.27 No.-

In line with the further development of the idea of art education in the modern period, changes in the traditional painters were from not only inside but also from their interaction with the outside world. In the latter perspective, painters’ external experiences changed from touring to a more specific purpose of studying abroad. Such a phenomenon became more noticeable around the hosting of Joseon Art Exhibition where the transition to the Oriental painting settled officially. As more painters went to Japan for study, painting styles were directly passed down through the student-instructor relationships, affecting a huge impact on Joseon traditional painting restructure. Around 1920, Joseon students entered some famous hwasuks (small-scale private painting school) including Dyenshindo whasuk. This article focused on Dyenshindo hwasuk and a main painter Yeongil Lee of the modern colored painters to look at his study in Japan and roles in the domestic colored painting. Based on Changwhan Kim’s research on Japanese paintings in Takinogawa in the countryside of Tokyo, this article traced his path from the training period, to return to Korea to work as the first Joseon newspaper illustrator. Other than hwasuks, art schools and art institutions were possible places to learn Japanese paintings. This study also noted main color painters including Hanbok Lee, a governmentsponsored student at the Tokyo Art School, Eunho Kim and Wuseok Choi for their study-abroad period, painting style experiments right after their overseas study, and diverse theme changes by using new materials. In addition, this article identifies the characteristics and case examples after the 1930s when the scope of art study abroad expanded in terms of the number of engaged students and regions. Including the art area, the entire academic areas had increasing number of students going to Japan for study and schools and art institutions with lower admission thresholds opened up their doors, forming a favorable environment for study in Japan. In line with the trend in the Japanese local painters, some Joseon painters such as Geunbae Choi, studied Western paintings along with Japanese paintings and pursue multiple experiences in diverse organizations including hwasuks, art schools, etc. As second generational students studying in Japan appeared, Eunho Kim’s experience in Japan was applied to his students completing a certain period of study, leading to their study in Japan, in turn. Also, study destinations were expanded outside Tokyo or study period grew longer. One good example examined herein is Maljo Jeong who graduated from the Kyoto Municipal Painting School and settled in Kyoto. Especially This article, in order to understand better the trend of the color painters, introduced the color-printed pictorial with some of the works in the Joseon Art Exhibition of which the original was lost and only black-and-white illustrations are passed down.

한국 근대 수묵채색화 연구사: 최근 20년 연구의 궤적

김소연(Kim, So-yeon) 인물미술사학회 2020 인물미술사학 Vol.- No.16

본 연구는 한국 근대 수묵채색화 분야의 최근 20년간(2000년 이후) 연구동향을 고찰하는 것에 목적을 두고 있다. 먼저 최근 학계에서 동아시아 문화권 내에서의 보편성과 특수성에 주목하여, 보다 거시적이고 확장된 측면에서 한국 근대미술을 조망하려는 경향성을 지목했다. 이와 같은 논의의 연장선상에서, 일제강점기 동일한 시간과 공간을 공유했던 재조선 일본인 화가의 존재에 대한 한·일 양국의 관심을 파악해 보았다. 조선왕조와 근대기를 통사적으로 이해하고 기술하여 이분법적인 과거의 연구체계를 벗어나려고 시도하거나, 미술의 범주 및 예술가의 정의에 물음을 던지며 여성 미술에 접근하는 의미 있는 진전을 살펴볼 수도 있었다. 추가적으로 본고는 세부분야에서의 학문적 진전을 차례로 검토하고, 근대 수묵채색화와 관련해 최근 논의가 집중된 대표적인 사례들을 점검했다. 모던한 시대[modern period]의 ‘모던’하지 않은 미술로 여겨진 수묵화의 태생적 약점, 일본화와의 영향관계 아래 채색화에 대한 폄하 및 연구의 불균형과 같은 숙제들은 여전히 남아있지만, 앞으로 기존 연구의 간극을 메우고 극복하는 밀도 있는 연구가 지속될 것을 기대해본다. This article aims to examine the past 20-year (after the year 2000) research trends of the modern Korean ink and color paintings. Recent interest in the relation between universality and particularity of the East Asian culture provided the lens through which the modern Korean painting comes into a more macroscopic view. Accordingly, the academia of Korea, individually and collectively with that of Japan, began to shed light upon the Japanese artists who dwelled in colonial Korea. The comprehensive view has further contributed to a more synthetic understanding to the seemingly isolated eras of Joseon Dynasty and the modern. Additionally, attention has surged on Korean female artists in understudied fields and classes, which thereby paved the way to expand the definition of art/artist. This paper, lastly, provides recent advances and perspectives in the subfields of Korean art and aims to trace the critical discussions involved in modern ink and color paintings. Ink painting was taken as “unmodern”, something outside the boundary of modern period. Likewise, the premise that modern Korean color painting was founded upon Japanese painting relegated the former to insignificance within the academia. Still remaining as understudied fields, modern Korean ink and color paintings call for further sophistication to create integrative understanding as a whole.

근원 김용준(1904-1967)의 기명절지화 연구

이인숙 고려대학교 민족문화연구원 2019 民族文化硏究 Vol.85 No.-

Keun-won Kim Yong-jun (1904-1967) was a painter, art theorist, writer, book designer, and educator, active from the 1920s to the 1960s, who defected to North Korea amid the chaos of colonization, liberation, and the Korean War. He was one of the leading Western painters and worked as an art critic. In 1939, however, Kim Yong-jun, at 36, changed direction to Oriental painting and expanded his scope as a theorist from art review to art history. The very first motivation to change his perception of Oriental painting came from the shock he had from the high painting quality of the ‘Gimyeong cheolji-hwa’ by O-won Jang Seung-eop (1843-1897). ‘Gimyeong cheolji-hwa’ is a big part of Kim Yong-jun’s work as an Oriental painter. I have divided his ‘Gimyeong cheolji-hwa’ into ink paintings, paintings on book designing, and portrait paintings with various subject matters. The ink painting has 13 cases, 22 pieces (including two published by the newspaper and two verified by the records), mostly with horizontal form. The works of the 1940s remain the most. The works are concisely composed of bronzeware, flowers, vegetables, fruits, books, and writing supplies, so they stick to the basics of ‘Gimyeong cheolji-hwa’ with the tastes of good auspicious signs and joy of learning. Among the book designing that utilized the ‘Gimyeong cheolji-hwa’ three cover page illustrations were from Kim Yong-jun for the monthly magazine Munjang and Hakpung in which he also participated as a member of writing staff, while three title page illustrations are related to Lee Tae-jun. Kim Yong-jun painted the portraits of Su-hwa Kim Hwan-ki, one of his favorite junior Western artist and Pyuk-cho Hong Myong-Hui, a novelist whom he respected, against the backdrop of the theme of ‘Gimyeong cheolji-hwa’. The ‘Gimyeong cheolji-hwa’ is significant in that it was an opportunity for Kim Yong-jun to recognize paintings from the Joseon Dynasty and change his path to an Oriental artist, and that Kim Yong-jun’s research broadened the scope of Korean art history from the biography of Jang Seung-eop to the painter theory of the Joseon Dynasty. 근원(近園) 김용준(1904-1967)은 화가이자 미술사학자이며 수필가이다. 1950년부터는 북한에서 활동했다. 동경미술학교에 유학한 서양화가, 미술평론가였던 김용준은1939년(36세) 동양화가, 미술사학자로 전향한 후 다수의 기명절지화를 그렸다. 서양화로 미술을 시작한 김용준의 전통회화에 대한 눈뜸은 1928년(25세)경 본 오원(吾園) 장승업의 기명절지화에서 시작되었다. 전향 배경에는 지필묵을 접하며 자랐던환경, ‘향토색’, ‘동양주의’ 등 미술계 담론과 ‘조선학’ 운동이라는 시대 상황, 모더니스트이면서 고미술품을 애완(愛翫)한 이태준(1904-?)의 영향 등이 있었다. 김용준의 「오원일사(吾園軼事)」는 그의 조선회화에 대한 인식 전환이 전통이나 민족 같은 이념이 아니라 장승업의 기명절지화에서 받은 미학적 충격에서 비롯되었으며, 여기에서 언급한‘기명절지’가 지금 통용되는 장르 명칭이 되었다는 점, 기명절지화가 나타난 배경 등을알려주는 중요한 글이다. 김용준의 기명절지화는 13건 22점이다. 길상과 문방정취의 뜻을 간소한 구성에 담았으며, 담채의 사의(寫意) 화풍에 적절한 화제로 문기(文氣)를 더한 점도 특징이다. 김용준은 기명절지화의 제재를 표지화, 속표지화, 삽화 등 책의 장정과 김환기, 홍명희등 인물화에 활용했다. 기명절지화는 김용준이 동양화가로 전향하는 시작이 되었으며, 그의 미술사 연구는 장승업 등 작가론에서 한국미술사 전반으로 심화되었다. 기명절지화를 그리면서, 그 화의(畵意)인 서재 생활의 정취를 향유함으로써 김용준이 동양화가, 미술사학자로서의 정체성을 확립하고 확장했다는 사실도 의미 깊다.