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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The academic world has recently paid much attention to women as a subject and an object of arts and studied them in various aspects. However, too much focus on contemporary arts of women has made female art of modem times, only a half century ago, restricted to retrospective studies just for a comparison. This trend will be related to limited data of modem women arts with short period of activities and only a few works handed down to date. This thesis will deal with new information on details about female artists and their education regarding paintings and calligraphic works, confining the study to traditional arts. The major objective is to revaluate female art of calligraphy and paintings, and educational institutions, art schools, and ateliers that introduced the art to women along with art education.
At the Society of Kisung Calligraphy-Painting Studies that opened the modem female education on calligraphy painting, many of the students of Yoon Young-ki were kisaeng including Kim Wol-hee and Lim Ki-hwa. Kim Kyu-jin’s Society of Calligraphy-Painting Studies, which Bang Mu-kil and Chung Yong-hee belonged to, also had many kisaeng including Kim Reung-hae. The interview with Bang Mu-kil showed that Chinese ink paintings(simple works such as the four gentlemen paintings) were generally produced by kisaeng. Kisaeng, the beneficiaries of the early education on calligraphy paintings as modem women, submitted their works to Chosun Arts Exhibition. Many of them were selected for prizes and attracted much attention from the audience, but there was a controversy whether they should be selected or dropped during the screening process.
In 1922, the first female education institution, Society of Changshin Calligraphy-Painting Studies taught women calligraphy, and simple paintings depicting flowers and birds, and the four gentlemen paintings. The birth of Gyeongseong Women’s Art Studies was an attempt to providing specialized education, overcoming the limits of Society of Changshin Calligraphy-Painting Studies whose students were mostly attending high schools. Kim Eui-sik opened the first formal school, Gyeongseong Women’s Art School, and selected students by regular, graduate course, elective courses through qualification examination. The school struggled to take a second leap, moving here and there, but had remained inactive since 1934 due to managerial difficulties. However, the significance of the school itself lies in the fact that it was the first professional art school which lasted for over eight years and continued to host annual exhibitions two times a year. With the help of recent studies, I also turned my attention to the materials that record the activities in Korea of graduates from Joshibi(now, Joshibi University of Art & Design, Tokyo).
In the meantime, it was Chosun Arts Exhibition that gave women artists of calligraphy and paintings opportunities for engaging in official activities. Hosts of female artists advanced into art circles all at once in the 1920s through a form of open competition, and women’s arts were encouraged, getting attention from media. In the 1930s, they began to try growing into professional artists by applying for the government-hosted exhibitions. They solidified their status as artists by cultivating similar styles of painting in the ateliers or homes of their teachers, who were the famous artists and swept the Chosun Arts Exhibition.
The artists, who actively performed on the painting stage and developed exchanges with art circles in the 1930s, played pivotal roles in making women recognized as artists. The examples include Chung Jeon Atelier’s Chung Yong-hee and Lee Hyun-ok, Nak Chun Heon Atelier’s Bae Jung-rae, Gato Shorin’s student Lee Ok-soon, and Lee Young-il’s student Chung Chan-young.
As the art was taken as one of school curriculum in modem times, any woman receiving education could have a chance to learn fine arts and get access to drawings. The students educated by public schools’ curriculum started to demonstrate their artistic prowess in the 1930s, and it was proven by Chosun Arts Exhibition. In particularly, Sookmyung Girls’ High School served as an important foothold in the studies on the modern history of women arts. The School engaged Yoon Yeon-yi, a graduate from Joshibi, and Lee Young-il, a painter as teachers, introducing arts to many future scholars. Many of Lee Young-il’s students won the prizes at the Exhibition while at school. The graduates from the School had many things in common with Lee Young-il and Chung Chan-young in terms of motif and style, and it is notable that these themes were also used as motifs for embroidery. No further records are found regarding the students’ activities after graduation, so it may not be acceptable to place all of them under the category of artist. However, they can be regarded as new type of artists who approached the new genre called art through public education provided by high schools.
This thesis will serve as an opposing argument against the commonly accepted opinion that the Society of Changshin Calligraphy-Painting Studies later changed into the Group of Kyusu Calligraphy-Painting studies, and Chosun Women’s Art School and Gyeongseong Women’s Art School were separate institutions. Besides, this study will provide a chance to correct the mistakes made by previous studies and discover the discourse and the truth of the times by presenting new research materials.
At the Society of Kisung Calligraphy-Painting Studies that opened the modem female education on calligraphy painting, many of the students of Yoon Young-ki were kisaeng including Kim Wol-hee and Lim Ki-hwa. Kim Kyu-jin’s Society of Calligraphy-Painting Studies, which Bang Mu-kil and Chung Yong-hee belonged to, also had many kisaeng including Kim Reung-hae. The interview with Bang Mu-kil showed that Chinese ink paintings(simple works such as the four gentlemen paintings) were generally produced by kisaeng. Kisaeng, the beneficiaries of the early education on calligraphy paintings as modem women, submitted their works to Chosun Arts Exhibition. Many of them were selected for prizes and attracted much attention from the audience, but there was a controversy whether they should be selected or dropped during the screening process.
In 1922, the first female education institution, Society of Changshin Calligraphy-Painting Studies taught women calligraphy, and simple paintings depicting flowers and birds, and the four gentlemen paintings. The birth of Gyeongseong Women’s Art Studies was an attempt to providing specialized education, overcoming the limits of Society of Changshin Calligraphy-Painting Studies whose students were mostly attending high schools. Kim Eui-sik opened the first formal school, Gyeongseong Women’s Art School, and selected students by regular, graduate course, elective courses through qualification examination. The school struggled to take a second leap, moving here and there, but had remained inactive since 1934 due to managerial difficulties. However, the significance of the school itself lies in the fact that it was the first professional art school which lasted for over eight years and continued to host annual exhibitions two times a year. With the help of recent studies, I also turned my attention to the materials that record the activities in Korea of graduates from Joshibi(now, Joshibi University of Art & Design, Tokyo).
In the meantime, it was Chosun Arts Exhibition that gave women artists of calligraphy and paintings opportunities for engaging in official activities. Hosts of female artists advanced into art circles all at once in the 1920s through a form of open competition, and women’s arts were encouraged, getting attention from media. In the 1930s, they began to try growing into professional artists by applying for the government-hosted exhibitions. They solidified their status as artists by cultivating similar styles of painting in the ateliers or homes of their teachers, who were the famous artists and swept the Chosun Arts Exhibition.
The artists, who actively performed on the painting stage and developed exchanges with art circles in the 1930s, played pivotal roles in making women recognized as artists. The examples include Chung Jeon Atelier’s Chung Yong-hee and Lee Hyun-ok, Nak Chun Heon Atelier’s Bae Jung-rae, Gato Shorin’s student Lee Ok-soon, and Lee Young-il’s student Chung Chan-young.
As the art was taken as one of school curriculum in modem times, any woman receiving education could have a chance to learn fine arts and get access to drawings. The students educated by public schools’ curriculum started to demonstrate their artistic prowess in the 1930s, and it was proven by Chosun Arts Exhibition. In particularly, Sookmyung Girls’ High School served as an important foothold in the studies on the modern history of women arts. The School engaged Yoon Yeon-yi, a graduate from Joshibi, and Lee Young-il, a painter as teachers, introducing arts to many future scholars. Many of Lee Young-il’s students won the prizes at the Exhibition while at school. The graduates from the School had many things in common with Lee Young-il and Chung Chan-young in terms of motif and style, and it is notable that these themes were also used as motifs for embroidery. No further records are found regarding the students’ activities after graduation, so it may not be acceptable to place all of them under the category of artist. However, they can be regarded as new type of artists who approached the new genre called art through public education provided by high schools.
This thesis will serve as an opposing argument against the commonly accepted opinion that the Society of Changshin Calligraphy-Painting Studies later changed into the Group of Kyusu Calligraphy-Painting studies, and Chosun Women’s Art School and Gyeongseong Women’s Art School were separate institutions. Besides, this study will provide a chance to correct the mistakes made by previous studies and discover the discourse and the truth of the times by presenting new research materials.
목차
Ⅰ. 머리말
Ⅱ. 서화교육기관의 여성서화교습
Ⅲ. 화숙ㆍ화실의 개인서화교습
Ⅳ. 여자고등보통학교의 미술교육
Ⅴ. 맺음말
참고문헌
Abstract
참고문헌 (33)
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