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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 미술사연구회 미술사연구 미술사연구 제36호
- 발행연도
- 2019.6
- 수록면
- 51 - 74 (24page)
- DOI
- 10.52799/JAH.2019.06.36.51
이용수
초록· 키워드
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Collaborative instant calligraphy paintings were popular among modern Korean painters in the particular historical circumstances of the country’s annexation by Japan in 1910 and subsequent colonization. Such works were produced at gatherings at which several painter-calligraphers each painted a different motif or wrote a different piece of poetry or prose on a single canvas. Interestingly, while collaborative calligraphy paintings were rarely produced by poetry groups or at gatherings in 18th-century Joseon or Qing, they took place frequently at the painting and calligraphy gatherings that were prevalent throughout Japan from the late Edo to the early Meiji period. The nobility that led Japan in the late Meiji period-elite officials, military men and businessmen educated at least to university level-continued the creative methods of instant calligraphy painting.
After Japan’s victory in the Russo-Japanese War in 1905, officials of the Residency General often held calligraphy and painting gatherings in the imperial house hold of the Daehan Empire. At meetings of fraternity associations such as Imunhoi (以文會) comprising high-ranking officials from Korea and Japan, figures from both countries formed cultural bonds through collaborative calligraphy painting. In addition, in the 1900s, when Japan was encouraging its citizens to migrate to the peninsula, Japanese painters in Korea such as Shimizu Toun (淸水東雲, 1869?~1929?) and Kubota Tennan (久保田天南, 1872~1940?) associated with Korea painter-calligraphers in private spaces such as Gyeongmukdang (耕墨堂) and produced collaborative calligraphy paintings.
In order to investigate the introduction, development and changes that occurred to the collaborative calligraphy painting that became popular under the influence of Japan, I divided extant works of this type into three categories according to the nationalities of their painter-calligraphers. The first category includes works by Japanese nationals only; three works produced at Gyeongmukdang in approximately 1915. The second category includes works produced jointly by Japanese and Koreans such as high-ranking Japanese officials, pro-Japanese orean officials and Korean calligrapher-painters. One notable example in this category is a calligraphy painting jointly produced by Korean artists such as Kim Eung-won (金應元, 1855~1921) and Japanese figures. The third category comprises works produced by Koreans only. Features of such works include experiments such as dividing the canvas space in order to stop the spontaneous abandon of the creative process lowering the standard of the work; and painting the upper body of the destined recipient of the work in the middle of the canvas. Examples of this include two calligraphy paintings jointly produced by members of the Sanbyeok Poetic Society (珊碧詩社); one is now in the collection of Korea University Museum and the other in that of Sogang University Museum.
The above collaborative calligraphy paintings are characterized by their free and spontaneous style and rendered in simple ink brush strokes, perhaps because they were produced in the presence of several observers. This demonstrates a totally different type of colonial cultural policy to the revealing of Japanese painting, with its unique sense of aesthetics, to the Korean public at the Joseon Art Exhibition from 1922 onwards. This is probably because ink painting offered a suitable way of highlighting the common points between Japan and Korea based on Japan’s assertion of the two countries’ shared nationhood and culture, as part of its colonial policy; and because the creative method involved in collaborative calligraphy painting was an effective way of forming cultural bonds as artists from each country observed each others’ creative processes. In conclusion, it appears that the fashion for collaborative calligraphy painting that appeared in modern Korean painting from 1910 was closely connected to Japan’s colonial cultural policy.
After Japan’s victory in the Russo-Japanese War in 1905, officials of the Residency General often held calligraphy and painting gatherings in the imperial house hold of the Daehan Empire. At meetings of fraternity associations such as Imunhoi (以文會) comprising high-ranking officials from Korea and Japan, figures from both countries formed cultural bonds through collaborative calligraphy painting. In addition, in the 1900s, when Japan was encouraging its citizens to migrate to the peninsula, Japanese painters in Korea such as Shimizu Toun (淸水東雲, 1869?~1929?) and Kubota Tennan (久保田天南, 1872~1940?) associated with Korea painter-calligraphers in private spaces such as Gyeongmukdang (耕墨堂) and produced collaborative calligraphy paintings.
In order to investigate the introduction, development and changes that occurred to the collaborative calligraphy painting that became popular under the influence of Japan, I divided extant works of this type into three categories according to the nationalities of their painter-calligraphers. The first category includes works by Japanese nationals only; three works produced at Gyeongmukdang in approximately 1915. The second category includes works produced jointly by Japanese and Koreans such as high-ranking Japanese officials, pro-Japanese orean officials and Korean calligrapher-painters. One notable example in this category is a calligraphy painting jointly produced by Korean artists such as Kim Eung-won (金應元, 1855~1921) and Japanese figures. The third category comprises works produced by Koreans only. Features of such works include experiments such as dividing the canvas space in order to stop the spontaneous abandon of the creative process lowering the standard of the work; and painting the upper body of the destined recipient of the work in the middle of the canvas. Examples of this include two calligraphy paintings jointly produced by members of the Sanbyeok Poetic Society (珊碧詩社); one is now in the collection of Korea University Museum and the other in that of Sogang University Museum.
The above collaborative calligraphy paintings are characterized by their free and spontaneous style and rendered in simple ink brush strokes, perhaps because they were produced in the presence of several observers. This demonstrates a totally different type of colonial cultural policy to the revealing of Japanese painting, with its unique sense of aesthetics, to the Korean public at the Joseon Art Exhibition from 1922 onwards. This is probably because ink painting offered a suitable way of highlighting the common points between Japan and Korea based on Japan’s assertion of the two countries’ shared nationhood and culture, as part of its colonial policy; and because the creative method involved in collaborative calligraphy painting was an effective way of forming cultural bonds as artists from each country observed each others’ creative processes. In conclusion, it appears that the fashion for collaborative calligraphy painting that appeared in modern Korean painting from 1910 was closely connected to Japan’s colonial cultural policy.
목차
I. 머리말
II. 한중일 삼국에서의 즉석휘호 합작
III. 근대 한국 화단에서의 사례들
IV. 맺음말
참고문헌
Abstract
참고문헌 (25)
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UCI(KEPA) : I410-ECN-0101-2019-609-000666577