李仲燮 硏究

Abstract

본 논문은 한국의 近代 畵家 이중섭의 작가론으로 시도되었다. 지금까지 이중섭의 생활은 거의 傳說話되다싶이 했으며 독창적이고 전통적이라고 알려 지고있는 作品 또한 본격적인 분석이 가해지지 않은 채 神秘化되어 있는 실정이다. 그의 作品이 전통적인 內容과 감수성을 지니고 있다면 그것을 神秘化되어 있는 실정이다. 그의 作品이 전통적인 內容과 감수성을 지니고 있다면 그것은 神秘化된 次元에서 머물게 할 것이 아니라 구체적으로 분석하므로써 오늘날 우리 화단에 시사될 점을 찾아양 할 것이다. 그의 생애 및 시대적인 배경, 작가의식 등을 구체적으로 고찰하여 보므로써 이중섭의 작품세계를 객관적으로 정확하게 평가하는 것이 본 논문의 目的이다. 이중섭은 일제시대에 태어나서 성장했으며 8·15解放, 6·25사변등을 전후한 우리 민족의 가장 심한 격동기에 활동한 作家였다. 어렸을 때부터 극히 내성적이며 비현실적인 그는 이와 같은 社會的인 격동 속에서 더욱 自閉的인 性格이 되었으며 外界 現實에서 아무런 反應도 없이 비현실적인 生活을 했다. 그는 어려운 환경속에서 現實과 藝術의 타협點을 찾아서 해결하지 못하고 生活을 완전히 二重化시키고 藝術世界로 沒入하였다. 이와같이 二重化된 生活과 극히 내성적인 성격등은 결국 그를 病과 죽음으로 몰고 간 원인으로 볼 수도 있다. 그가 作家로서 본격적인 훈련을 시작한 1930年代 의 일본 화단은 서구의 諸 美術流派가 이미 수입되었고 전위미술이 여러 가지 형태로 나타나던 시기였다. 이러한 화단에서 이중섭이 익힌 화법은 표현주의적 경향의 화법이었다. 대체로 북방 민족의 내향적인 기질에 부합되며 정신적인 혼란의 시기를 반영하는 예술양식인 표현주의적 경향의 그림을 그가 그린 것은 必然的인 결과라고 할 수 있다. 그의 표현주의적 경향의 작품은 월남한 후 급변한 외적 현실의 실존적 상황과 체험이 결합되어 표현되므로서 절정을 이루었다. 이중섭이 처음으로 서양화를 익힐 때 그도 다른 근대화가들과 마찬 가지로 서구의 감수성과 전통적인 감수성의 차이에서 심한 갈등을 격었을 것이다. 그러나 그는 뛰어난 재능 및 감수성, 집요한 노력 등으로 이와같은 갈등을 해결해 나갔다. 이중섭은 서양화를 익힘에 있어서 서구의 감수성에 흡수되지 않고 그들의 재료와 기법을 自己化 하므로써 서양화를 目的이 아닌 方法으로 받아들였다. 또한 그는 한국적인 주제를 발굴하여 전통적인 감수성을 바탕으로 한 表現 體系로서 우리의 전통미술을 계승하였다. 마지막으로 변화하는 실존적 상황과 체험으로 자기의 감수성 자체를 갱신해 가므로써 전통적인 감수성을 새롭게 변화시켰다. 결과적으로 그는 전통적인 감수성을 바탕으로 서양화의 材料와 기법을 사용하여 전통적이며 독창적인 작품세계를 이룩하므로써 근대회화사상 누구도 실현하지 못했던 과업을 수행한 화가로 평가할 수 있겠다.

;This thesis is on the Korean painter Lee Chung sup with talent, sensibility and persevering effort he accomplished for the first time a difficult and important task in the modern art history of Korea. The surroundings in which he lived, the anecdotes of his life and the insanity in his later years have combined to make him an almost legen dary figure. His traditional and unique works have also been shrouded in mystery without earnest analysis. If his works are indeed traditional and sensitive they should be thoroughly analyzed so as to help direct the painters of today toward the right path. The purpose of this thesis is investigate objectively his life and his art which have been mythicized up to Now. Lee Chung Sup was born during the Japanese Occupation and was active during the most trying years of our country during which we sent through the Liberation of August 15th and the Korean War of June 25th. Introspective and impractical from childhood he closed himself up more and more under such social conditions. Excluding the slight activity he showed during his student years which was brought on by the consciousness of our nation's plight, he lived apart from the world about him retaining a spectator like attitude toward life and not responding at all to the realities of the world. After crossing the 58th parallel line to the south he was on his own for the first time, away from his mother and elder brother who had been looking after him with the sudden change in his environment he either didn't or couldn't come to a point of compromise between reality and art. He began living a double life. In other words he completely separates the spiritual world of art from the every day world and devotes himself wholly to his art. This dual life and his introverted and impractical personality could be considered as the factors which drove him to his i11ness and death. Japanese painting circles of 1930's in which he began actual training as a painter were already acquainted with various schools of painting of the West. And avant-garde (in modern art, this implies Abstractism and Surrealism) art was sprouting up in all kinds of forms. The mode of painting which Lee Chung Sup learned among these circles had expressionistic tendancies. The ideology of Expressionism lies in expressing feelings through representation of nature, and the method used is one of extreme simplicity and variety as well as unrestricted freedom of brush strokes. After his crossing to the South, the Expressionistic works of Lee Chung Sup expressed a combination of the existentialistic conditions and the experiences caused by the sudden change in the outer world and thereby reached their peak. When Lee Chung Sup first began learning about Western painting he probably went through severe conflict within himself resulting from the differences between Western and traditional sensibilities as was the case with other modern painters. But he resolved these conflicts with his special talent and sensibity. Still, this cannot have been achieved simply with talent and sensibility. His high artistic ideals which aimed at discovering and inheriting our traditional art and his persistent effort must have surely played an important role also. Lee Chung Sup did not absorb Western sensibility while learning Western painting. He forced Western painting to be the means rather than the object of his artistic expression by learning of their methods and materials and making them his own. He also discovered a Korean theme and inherited our traditional art as an expressing medium based on traditional sensibilities. Py renewing his sensibilities constantly with his changing existentialistic circumstances and experiences, he transformed the traditional sensibility itself.