小琳 趙錫晉 硏究

Abstract

This is a study on Cho Sok-chin(or Sorim by pen name) who is often called the last court painter in the latter period of Yi Dynasty (1392-1910). Sorim(l853-1920) attained a world of traditional painting of his own in the whirlwind of chaos and confusion of the late Yi Dynasty and handed down his artistic heritage to the succeeding generations. The prime purpose of my research on Sorim's art is to look into the meaning, and to establish the position of his art in the modern history of Korean painting. Second purpose is to set up systematically the character of Sorim's painting by analyzing his artistic world. Cho Sok-chin or Sorim could be said an artist who, departing from the consciousness and circumstances of his contemporaries, was only adamant to his own artistic world in which he reached his own stage. However, the circumstance under which he was situated in the midst of painting history exercised a decisive influence upon are complishing Sorim's art. That is to say the characters of Sorim's art were entirely different from one another when we divide them into three processes of his early, middle and late stages. In his initial and middle stages, Sorim's painting formed in accordance with the situation and demands of his time, and is characterized by both sketch and sourthern Chinese styles. Regarding this styles as the most important features of his art, I tried to study his art through his personal background and attitude toward art. Mainly through the backgrounds of his time, I attempted to make clear the situation of his time which is necessary element to find out the transfiguration of artistic history. Although Sorim was never a man of sticking to consciousness of his contemporaries, but I would like to ascertain the process of forming his artistic works from the viewpoint that he was inevitably affected by the circumstances of his time to the great extent. In my final portion of this study, I tried to analyze his artistic world especially by observing his artistic value. In addition, here I divide his works into paintings of figures, fishes, landscape and others. In his figure-painting, he mostly followed the traditional. Chinese style. Although his landscape-painting is also the model after the Chinese style, there appear to be some emotion and sentimentin them which is typically Korean. Especially, he produced very fine paintings of fishes in which he expressed his feeling exquisitely by drawing life-like lishes. In the history of modem Korean painting, a distinctive establishment of Sorim's artistic world would be a very important momentum for Korean artists today and tomorrow to deary grasp the stream and root of his painting.;이 論文은 舊 韓末의 마지막 畵員이었던 小琳 趙錫晉 (1853-1920)에 대한 硏究이다. 舊 韓末의 時代的인 일대 混亂期속에서 傳統美術의 한 世界를 이룩하여 後代에 까지 傳乘시켰던 小琳 藝術을 硏究 하는 目的은, 첫째 그의 藝術이 韓國近代繪畵史 속에서 갖는 意義의 把握과 位置의 設定에 있고, 둘째 그의 藝術世界를 分析함으로써 小琳藝術의 性格을 體系的으로 定立시키려는 것이다. 小琳 趙 錫晉은 時代的인 意識이나 狀況에서 分離되어 自身의 藝術世界로만 執着하려고 하였으나 안에서 하나의 境地를 이루지는 못한 畵家라고 볼 수 있다. 그러나 美術史의 흐름 속에서의 時代的인 狀況은 小琳 藝術의 形成에 決定的인 영향을 끼쳤다. 즉 小琳 藝術이 成 立되어 가는 過程은 初期와 中期 그리고 末期를 통해서 그 性格이 判異하다. 즉 小琳에게는 당시의 時代的인 狀況에 따라 寫生的인 畵風과 中國의 南畵風이 모두 이루어 졌다. 이것을 小琳 藝術의 가장 重要한 特性으로 보았으며 따라서 小琳 藝術을 硏究하는 方法은 먼저 그의 人間的인 輪郭과 藝術에 대한 姿勢를 통하여 알아 보려 했고, 다음에 時代的인 背景을 통해서는 주로 美術史的인 變貌를 찾아내기 위해 그 要因으로서의 時代的인 狀況을 밝혀 보려 했다. 또한 小琳은 時代的인 意識을 가진 畵家는 아니었지만 時代的인 狀況에 커다란 영향을 必然的으로 받았다는 觀點에서 作品 形成의 過程을 밝히려고 하였다. 그리고 마지막으로 作品을 통해서 小琳의 藝術世界를 정리하려 하였다. 이렇게 하여 그의 作品을 人物, 魚蟹, 山水, 其他로 分類해 보았다. 人物에서는 一般的으로 中國의 傳統的인 繪畵 樣式에 따랐으며, 山水에서는 傳統的인 中國 山水畵風도 하였으나 韓國的인 情緖를 담은 山水畵도 보여 진다. 특히 그는 魚蟹에 있어서 매우 좋은 作品을 보여주며, 實寫에서 얻어진 生動하는 물고기를 그림으로써 自身의 心象을 잘 表現하였다고 할 수 있겠다. 이렇게 韓國近代繪畵史 中에서 小琳이란 한 畵家의 世界를 명확하게 설정한다는 것은 오늘날 그를 뒤 이은 韓國의 藝術家에게 보다 正確한 우리 藝術의 흐름과 그 연□을 把握할 수 있는 契機가 될 것이다.