近代 韓國 彩色畵의 形成過程 硏究

Abstract

繪畵에 있어서 色彩의 독립적인 가치를 중시하는 近代以後에 오면서 東洋畵에 있어서 彩色畵의 作品內在的 現實性으로서의 표현형태의 연구는 중요한 과제로 대두되고 있다. 또한 변혁과 직결된다고 볼 수 있는 近代世界나 社會의 構造的 변화로 因한 觀察과 認識方法의 변화에 대해서도 有機的인 再照明이 시급히 요구되고 있다고 할 수 있다. 그러므로 本 硏究에서는 彩色畵 傳統의 背景과 近代的인 彩色畵 樣式의 形成過程을 통해, 近代的인 繪畵의 한 樣式으로서의 彩色畵의 변화된 樣相과 指向点에 對해 考察해 보고자 한다. 1920年代는 여러 意味에서 우리의 近代傳統繪畵史에 하나의 轉換的 起点이 되고 있다. 이는 前代의 心田에 이은 小琳의 他界가 뜻하는 李朝時代의 종말과 그들의 正統畵脈을 계승한 참다운 의미의 近代的 新進時代의 개막을 뜻하기 때문이다. 따라서 오랫동안 傳統畵壇의 지배적 풍조였던 水墨爲主의 山水風景畵와 기타 文人畵風을 포함하는 南宗畵法의 일방적 崇尙 및 追從이라는 偏重을 깨고 新進世代들의 表現思考에는 일찍이 볼 수 없었던 變革이 일어나고 있었다. 즉 傳統的인 彩色畵가 繪畵의 한 樣式으로서 色彩의 단조로움을 극복하여 繪畵의 '近代性'을 갖춘 과거와는 異質的인 변화가 實質的으로 이루어져 表現되기 시작하였다. 本 硏究에서 筆者는 韓國彩色畵 傳統의 背景의 淵源을 李朝後期의 彩色畵 樣相을 통해 살펴보았다. 그 결과 色彩는 다만 儒敎的 人生觀에서 쾌락·향락주의적 思想의 所産으로만 평가하여 否定, 退朝되고 水墨畵의 먹색과 백색을 存在의 근원적인 것, 즉 實在를 상징하는 色彩로 인식하여 收容, 發展하게 되었다는 사실을 발견할 수 있었다. 또한 傳統的인 彩色畵는, 宮中의 圖畵署의 畵員에 의해 제작된 院體畵風으로서, 그 대표적인 李朝後期의 畵員으로서 小琳과 心田의 彩色畵 樣相을 통해 알 수 있었다. 이들은 또한 傳統的인 彩色畵에서 近代的인 彩色畵로 發展, 移轉할 수 있는 橋梁的인 역할을 하고 있음도 알 수 있었다. 近代的인 韓國畵가 전개되는 1920年代의 작품경향은 크게 두 흐름을 보였다. 하나는 以堂 金殷鎬로 대표되는 細筆彩色의 人物風俗畵와 花鳥圖였고, 또 하나는 靑田 李象範으로 대표되는 水墨爲主의 風景畵였다. 이것은 傳統的 繪畵文化의 본래적 畵面性의 새로운 開花現象이라 할 수 있다. 그런데 近代的 彩色畵 樣式의 전개는, 李朝繪畵의 傳習과 新文化의 영향에서 비롯한 近代性의 인식에서 作家意識이 出發하고 있는 것에 緣由된다고 볼 수 있다. 따라서 西洋畵法의 寫實主義와 新日本畵의 새로운 現實表現主義는 유형무형으로 영향과 자극을 주어 近代的인 彩色畵 形成을 촉진시켰음을 알 수 있다. 이렇게 時代的인 요구에 副應하는 彩色畵라는 장르의 부활을 가져오게 하는데 많은 공헌을 한 作家는 李堂 金殷鎬이다. 그는 오랫동안 단절상태였던, 現實美 표현을 基調로 하는 彩色畵의 독자적인 畵風을 시도하였으며, 그와같은 경향의 門徒들의 활동을 통하여 現實的인 視覺美와 自然美에 충실한 彩色畵가 오늘날까지 지속되고 있어 각별한 意味를 지니고 있다고 할 수 있다. 이상에서 살펴본 결과, 近代的인 繪畵의 한 樣式이며 장르로서의 彩色畵 樣相은 自然寫生에서 現實風景의 觀照와 생활주변의 일상적 視覺美의 대상을 중시하므로써, 色彩表現에 충실한 新自然主義 風景畵 또는 現實風俗의 人物畵를 그림으로써 새로운 繪畵精神과 현실적 思考意識을 반영하고 있었다. 그리고 指向点으로는 첫째, 中國繪畵觀(尙南貶北論)이나 日本畵法의 追隨의 문제는 무엇보다도 극복되어야 할 문제이며, 둘째, 時代的 변화에 따른 大衆의 美意識에 부합하는 彩色畵法의 개발이 절실히 요구되고 있다. 셋째, 彩色畵의 가장 중요한 畵具인 染料의 시대적 변화에 따른 새로운 彩色畵 技法의 創造問題 등은 앞으로 硏究되어져야 할 중요한 課題로 提起되고 있다고 할 수 있다.;Approaching the contemporary when the independent value of coloring is considered very important, it is considered very crucial tasks to study on the form of artistic presentation as the expression of intrinsic reality of coloured painting in oriental painting. And it is required imminently to reconsider organically on the change of the methods of observation and cognition changed by the structural change of society or by the modern tendency which is connected directly to rapid change. So the purpose of this study is to study on the changed appearances and points in coloured painting as a mode of moderm painting by through investigating the backgrounds of traditions of coloured painting and the procedure of the forms of modern coloured painting mode. In many aspects, the 1920's was assumed as the period of transformation in the history of modern traditional painting. Because the deaths of Shim Jeon and Sho Lim mean the end of the tradition of Yi Dynasty and because it means the opening of modern rising generation, in real sense, who succeed to the orthodox shool of painting. In the thinking of expression in rising generation, a revolution which cannot be seen in the old times, was going to hap-pen to by breaking out the leaning of the one-side honorship and pursuit to the southern school of Chinese painting which includes the landscape painting which gives the first consideration to India ink and Calligraphic school painting, etc., which was the dominant climate in the traditional school of painting for long periods. So to speak, the traditional coloured painting overcame the simplicity of colour and had the modernity of painting. The method of artistic expression changed heterogeneously which was very different to past had begun to use substantially. In this study, the researcher looks into the origins of the backgrounds of the tradition of Korean painting by through examining the modes of coloured paintings of post Yi Dynasty. As the result of it, the researcher can find out that they, from the Confucian point of view of life, regarded the colouring as the products of epicurian or hedonic thinking. So the colouring in painting was being negated and faded out. But white colour and Chinese ink colour were accepted and could be developed by the result of being understood as the origin of existence, i.e., as the symbol of reality. The traditional coloured paintings of which style was that of painting of academy were made by the painters in the studios in the Imperial court. The representative painters of post Yi Dynasty were Sho Lim and Shim Jeon and the traditional coloured painting could be transfered and developed toward the modern coloured painting owing to the role of them. Two trends appeared in paintings of 1920's when the modern Korean painting was being developed. The one which was represented by the works of Kim, Eun Ho (called as Yi Dang), was the tendency appeared in the portrait & genre paintings and the flowers & birds paintings. The other which was represented by the works of Lee, Sang Bum (called as Cheong Jeon), was the tendency appeared in the landscape painting in which the India ink was given the first consideration. This trends can be called as the new efflorescent phenomena of the original dual aspects of traditional painting culture. But the development of the modes in modern coloured painting, was originated from the consciousnesses of the painters to the modernity which began under the influences of new culture and of tradition of the painting culture of Yi Dynasty. And we can understand that the formation of modern coloured painting was promoted by the influences and the stimulations, visibly and invisibly, of new realism of western painting and of new Japanese painting. The revival of genre in coloured paintings which was met the demands of the times, could be appeared due to the contributions of Yi Dang, Kim Eun Ho. He, individually, tried to express the coloured paintings based on the presentation of realistic beauty, which had broken off for a long time. His individuality can be evaluated very significant because the coloured painting tendency has continued by his followers until today, which is substantial in expressing the visual and natural beauty realistically. The modes of coloured painting as a modern painting and as a genre reflected on the new spirit of painting and the;국 영문초록 수록