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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.6
- 수록면
- 83 - 103 (24page)
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Chang S?ng-?p(1843-1897, sobriquet, Owon) was a professional painter from the end of the Choson Dynasty. Questions regarding his status as a court painter and his identity as teacher for the final highest two court painters of the Choson Dynasty, Cho Sokjin(1853-1920) and An Chungsik (1861-1919), still remain unsolved. Nevertheless, Chang is one of the most favored painters of the Choson Dynasty. He is viewed to have been a versatile painter excelling in landscape, figure painting, and birds and flower. Equally important, he had the flair of an artist that is valued highly by Korean critics and art-lovers exemplified by his love of wine which only ignited his creative impulses. His life also met with misfortune. As a young boy, he lost his parents and received no formal education. As a result, he was illiterate and was taken in by an upper-class family who later discovered his artistic talent. Furthermore, after he deserted his one-night wife, he remained unmarried for the rest of his life.
These above-mentioned biographical details were first compiled a quarter of a century after his death in 1922 in Ilsayusa, the Legacy of the Lofty Gentlemen, written by Chang Chiyon(1864-1921). The content of his biography as appeared in Ilsayusa became the subject of many subsequent writings that dramatized even further his unconventional lifestyle and mishaps and gradually developed into a modern myth.
Debate exists over whether he was formally a court painter or not, nevertheless his legacy is known to have been inherited by his alleged students, Cho Sokjin and An Chungsik. There are numerous paintings where An supposedly wrote inscriptions including the signature on behalf of his illiterate teacher. More importantly, the extant works signed by or attributed to Chang S?ng-?p are not consistent in terms of technique, artistic expression, or the level of achievement, as if the works came from different time periods.
Due to the lack of the artist's own account and contemporaneous records on Chang S?ng-?p, present scholarship has relied on 1920s' description of him. And his works, without being questioned in terms of authenticity, have been analysed in relation to the Chinese prototype, such as late Qing paintings and painting manuals.
In this paper, the works of Cho Sokjin and An Chungsik, both whom are well-documented, are examined in order to unveil the reality of the art of Chang Sung-op, because, after all, it was Chang's disciples who projected the image of their supposed teacher. In the 1930s, Chang S?ng-?p was chosen along with Kim Hongdo(1745-after 1814) as the most representative painters of the late Choson, thus the artistic lineage was established from the late Choson down to Cho Sokjin and An Chungsik. It was an artistic lineage of court/professional painters. In order to further examine the motive behind establishing the lineage, the works of the students of Cho Sokjin and An Chungsik, who were the faculty at the first modern art school, School of Painting and Calligraphy, are also examined.
As the result, curiously enough, the works of Chang S?ng-?p that are inscribed in the calligraphic style of An Chungsik are almost identical to the works of the inscriber himself. The works of the graduates of the School of Painting and Calligraphy, in tum, are close in style to their own direct teacher, while some of them like Yi Toyong(1884-1933) and Yi Yong-u(1902-1952) expressed their debt to Chang S?ng-?p.
Questions can be posed as to why Chang S?ng-?p who was largely unrecognized in his own time, suddenly attained a status posthumously equal to the level associated with the most prominent court painter of the previous century, Kim Hongdo. What could be the real criteria upon which Chang's works can be authenticated? The key to the questions seems to lie, at least in part, in the art of An Chungsik. Unless this problem is solved, however, stylistic analysis may not be proven to be very fruitful.
These above-mentioned biographical details were first compiled a quarter of a century after his death in 1922 in Ilsayusa, the Legacy of the Lofty Gentlemen, written by Chang Chiyon(1864-1921). The content of his biography as appeared in Ilsayusa became the subject of many subsequent writings that dramatized even further his unconventional lifestyle and mishaps and gradually developed into a modern myth.
Debate exists over whether he was formally a court painter or not, nevertheless his legacy is known to have been inherited by his alleged students, Cho Sokjin and An Chungsik. There are numerous paintings where An supposedly wrote inscriptions including the signature on behalf of his illiterate teacher. More importantly, the extant works signed by or attributed to Chang S?ng-?p are not consistent in terms of technique, artistic expression, or the level of achievement, as if the works came from different time periods.
Due to the lack of the artist's own account and contemporaneous records on Chang S?ng-?p, present scholarship has relied on 1920s' description of him. And his works, without being questioned in terms of authenticity, have been analysed in relation to the Chinese prototype, such as late Qing paintings and painting manuals.
In this paper, the works of Cho Sokjin and An Chungsik, both whom are well-documented, are examined in order to unveil the reality of the art of Chang Sung-op, because, after all, it was Chang's disciples who projected the image of their supposed teacher. In the 1930s, Chang S?ng-?p was chosen along with Kim Hongdo(1745-after 1814) as the most representative painters of the late Choson, thus the artistic lineage was established from the late Choson down to Cho Sokjin and An Chungsik. It was an artistic lineage of court/professional painters. In order to further examine the motive behind establishing the lineage, the works of the students of Cho Sokjin and An Chungsik, who were the faculty at the first modern art school, School of Painting and Calligraphy, are also examined.
As the result, curiously enough, the works of Chang S?ng-?p that are inscribed in the calligraphic style of An Chungsik are almost identical to the works of the inscriber himself. The works of the graduates of the School of Painting and Calligraphy, in tum, are close in style to their own direct teacher, while some of them like Yi Toyong(1884-1933) and Yi Yong-u(1902-1952) expressed their debt to Chang S?ng-?p.
Questions can be posed as to why Chang S?ng-?p who was largely unrecognized in his own time, suddenly attained a status posthumously equal to the level associated with the most prominent court painter of the previous century, Kim Hongdo. What could be the real criteria upon which Chang's works can be authenticated? The key to the questions seems to lie, at least in part, in the art of An Chungsik. Unless this problem is solved, however, stylistic analysis may not be proven to be very fruitful.
목차
Ⅰ. 머리말
Ⅱ. 장승업에 관한 근현대의 평가
Ⅲ. 장승업과 조석진, 안중식
Ⅳ. 서화미술원과 장승업
Ⅴ. 맺음말
English Abstract
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