한국 근대 공예품의 명승고적(名勝古跡) 이미지 연구

Abstract

근대기 명승고적(名勝古跡)은 당시의 교통, 정책, 산업, 문화 등의 배경 변화와 함께 관광문화의 발달과 유행이 이루어지던 시기, 동시기 전국 각지에서 새롭게 개발된 명소들 중에서 아름다운 자연 경관, 오랜 역사의 유적지가 그 나라와 도시 를 상징하는 풍경으로서 시각화되는 소재였다. 명소를 찾아가 그 곳의 풍경을 감상하고 시각화하는 행위 자체는 그 역사가 오래되었지만 그를 즐길 수 있는 주체나 그릴 수 있는 대상, 방식과 목적 등 여러 면에서 각기 다른 성격을 갖는다. 그러나 근대라는 새로운 시기에 접어들면서 관광문화의 발달로 기존에 폐쇄되었던 전통공간이 공공장소로 개방되기 시작했고, 금전적 여유만 가능하다면 누구든지 그 신분이나 거리, 입장에 아무 제한도 받지않고 직접 그 장소를 찾아가서 풍경을 감상하고 즐길 수 있는 대중적 성격으로 그 대상이 확장하고, 변화하는 모습을 보인다. 한편 동시기 대중매체와 인쇄기술의 발생 및 발달과 함께 이러한 인식과 이미지는 무수히 생산·복제되었고, 이는 문자뿐만 아니라 평면의 이미지에서 입체의 공예품으로까지 제작되는 결과로 이어진다. 근대기 전 세계적으로 발생했던 명소의 시각화라는 흐름은 비단 서양뿐만 아니라 일본, 그리고 당시 그 식민지라는 상황에 처해있었던 조선 역시 영향을 받게 된다. 근대기 일본에서 국내 여행이 발달하고 그 명소의 시각화가 회화작품, 인쇄매체 뿐만 아니라 공예품의 문양으로도 공유되었던 것처럼 동시기 조선에서도 역시 그 시기 관광산업의 발달과 함께 관광지로 개방되고, 재구성되었던 명소,특히 명승고적이 ‘조선의 풍경’으로 시각화되어 평면의 시각매체 뿐만 아니라 다양한 종류의 근대 공예품의 문양 및 조형 소재로 활용되는 이미지로 사용되는 현상이 확인된다. 본 연구에서는 II장에서 한국의 근대 명승고적이 새롭게 인식되고, 그것이 가능했던 선정 배경과 조선 풍경 이미지 중 하나로 시각화되는 과정을 관광문화, 제도,학술, 사업, 행사 등의 다양한 시대적인 상황과 그를 보여주는 시각자료들을 중심으로 살펴보았다. 이러한 명승고적 이미지의 생성은 동시기 회화작품 뿐만 아니라 여행지를 직접 찾아가서 그 풍경을 보고 그릴 수 있는 사생삽화, 그리고 여행안내서, 리플렛, 서적, 사진과 그림엽서, 스탬프와 광고도안에 이르기까지 다양한 인쇄매체를 포함해서 확인할 수 있다. 이렇게 생성된 이미지는 인쇄와 대중매체를 통해 대량으로 복제되고 유포된다. 그 안에서 확인되는 조형적인 특징들은 동일한 이미지가 문양으로 공유되는 공예품에서도 확인되어 그 유사성을 보여준다. III장에서는 이렇게 생성된 조선 풍경으로서의 명승고적 이미지를 문양이자 조형소재로 근대 공예품에서 제작되었던 현상을 유물자료 분석을 통해 보다 본격적으로 고찰해보았다. 이를 통해 동일한 이미지가 평면에서 입체까지, 또한 공예품 안에서도 그 종류와 기종, 크기 등의 조건에 맞춰 다양하게 생성되고 공유되는 상황을 구체적으로 확인해볼 수 있었다. 명승고적 이미지 공예품에서 보이는 특징으로는 근대 공예품의 조형 및 기법 등의 특징, 동시기 시각매체 및 서화가들과의 연관성, 유물자료에서 확인되는 제작·판매처 등의 정보, 내지였던 일본의 취향까지 반영되는 시대상 같은 다양한 면모를 찾아볼 수 있다. IV장에서는 III장에서 확인되는 유물자료와 함께 근대 명승고적 이미지 공예품에서 확인되는 특징들을 정리하고, 그와 함께 당시 식민지이자 관광지였던 근대 조선의 기념공예품과 미술품과 함께 전시, 주문, 제작, 판매하며 상호간의 교류와 함께 이러한 취향을 유지시켰던 제작·판매처에 대한 정보를 추가적으로 살펴보았다. 이러한 고찰을 통해 근대라는 시대와 함께 당시 발생했던 관광문화와 기념공예품의 발생, 그리고 당시 평면의 시각매체에서 입체의 공예품까지 제작되고 유포되었던 명승고적 이미지와 그 확산을 통해 그 시대의 시각문화와 시대사적인 연구 자료로서의 의의를 고찰해보고자 한다.;This study reviewed the image of modern scenic and historic interest(名勝古跡)were developed and visualized as tourist attractions during Japanese colonial era focusing on visual materials and craft articles of the same period. Especially due to new influx of modern tourism culture by government in Modern era, the scenic and historic interest of colonized Joseon appear to gather new attention, to be developed and to be selected. In the chapter II, the process that the image of scenic and historic interest is made is reviewed. After the 19th century in Joseon, the system of tourism was settled like the precedence case of Western and Japan. Each area's old dynasty remains and natural space’re developed as tourist spots(名所), so the scenic and historic interest was created as a travel package. In tha process, the selection and visualization’re identified in the mass media, in the various change of sociocultural background. With this change, the traditional space’s open as public space. This resulted in easy visualization and circulation through printing. At that time, exhibitions’re held in traditional royal courts that include scenic and historic interest, and they contributed to changing the characteristics of space. These images can be found in visualization and literature resources of those days, and was widely known through media. In visualization process, newly selected scenic and historic interest’re expressed as a sort of subject and patterns in visual media, models and crafts. ‘Scenery of Joseon' visualization can be identified in various parts such as painting, illustration and printed media. The characteristics of the visual media’re limited sceneries of specific cities, standardized sceneries in fixed areas, combination with classical and combination or contrast with modern materials. The image’s expanded in demand like the expression media, and its characteristics’re identified with the crafts of those days. Meanwhile, the development of tourism’s continued to the production of souvenir. Various tourism souvenirs’re made, and in Joseon, the image of scenic and historic interest with the taste about colony reflected was used for patterns and modeling subjects of souvenir craft items. In the chapter III, the crafts with the image of scenic and historic interest used’re researched. This image’s used for subject matters regardless of material, type, price or scale. It’s classified into two types, First the traditional architecture and remains visualized in Colonial era, and second the scenic spots such as Geumgangsan(金剛山) has new spotlight in this era. When relics’re reviewed by each material in two categories, the characteristics’re as follows. First, the patterns of traditional architecture(古建築)’re found mostly in metal devices but not found in the patterns of scenic interest(名勝地). On the other hand in the wooden products, scenic interest images’re sold as souvenir. The most used one’s lacquerware inlaid with mother-of-pearl(螺鈿漆器). The two patterns’re both used in various kinds of items. The similarity’s identified in use of mother-of-pearl on black lacquer, putting mother-of-pearl on the metal or ceramic base, Japanese Maki-e(まきえ; 蒔絵) and affinity to photo materials, but there is difference in the aspect. In traditional architecture image, there’re various types’re used, and the changes of specific combination, patterns and techniques at each period’re identified. However in scenic spots images, specific places of Geumgangsan’re used, standardized sceneries of specific places. Regarding types, especially in furniture, scenic spots pattern appears in table, wardrobe, western and Japanese style. Another feature’s the collaboration of craftsmen and artists. The two patterns’re similar in ceramics. Coloring pigment(顔料)’re used, and custom(風俗) elements and Japanese taste’re reflected. Plates with pictures’re made, and industrial ceramics with Geumgangsan’re manufactured after 1950s. In addition, models related to brewing(酒造) were commonly produced. The difference’s that Hwanghae-do(黃 海道) white porcelain jars’re identified only in traditional architecture patterns. The specialty of Pyeongyang is gathering attention in stone products. Inkstones’re found in traditional architecture patterns, and stone paintings(石畫) after independence’re found in the patterns of scenic spots. The inkstone reflects the preference of Hwanghae-do stone products found in Nakrang(樂浪) historical remains. Meanwhile, the stone painting with the scenery of Geumgangsan showing the fact that patterns’re shared regardless of the location of production sites. In fabrics, subject matters related to classic, modern, custom and sceneries’re comprehensively combined in each fixed area. For the technique, Japanese style embroidery was used, and the patterns were used on various from small size scarves to large folding screen furniture. These characteristics appear in craft designs(圖案) in the same way, so the combination, material and characteristics were planned before the production stage, which indicates it was handed down for generations. The image of scenic and historic interest appearing in crafts was shared in its combination and standardization per each specific pattern. Mostly, it is about Gyeongseong, Pyeongyang and Geumgangsan, and in those, castle gates,pavilions, scenic spots’re identified. Thus, scenic and historic interest’re selected and expressed regardless of materials, types, forms, and additionally, the combination with custom, classic and modern elements can be found. This’s similar to visual medias, but the combination with classic and custom subject matters’s more emphasized than the contrast with modern subjects appearing in visual media.The characteristics of modern craft and production system identified in relic analysis can be summarized in a few categories. First, even in craft items with the same image used, there is difference in sort, type, form, size and value. It shows the scope of demand was very wide. This indicates the category of usage with the image of scenic and places of historic interest was gradually extended. Meanwhile, the taste that is reflected in modern craft-art can be found. In the sort and form, the new image of scenic and historic interest was used in popular craft items of those days And the cases of popular patterns in the same type and form support this. Regarding the aspect of technique and subject matters, the result with the perspective of users considered is found in the use of modern or Japanese taste, and the expression of ‘Geunje(謹製)’ and ‘Miyage(みやげ)’ in the category of ‘Joseon product'. The production·distribution places identified by relics, trademark and printed materials are department stores, the Yiwangjik craftwork manufactory(李王職美術品製作所), Haesisanghoe (海市商會), Bujeonsanghoe(富田商會), Pyeongyang specialty Nakrang product, Hwanghaedo white porcelain jar, Daehan pottery(Daehan Dogi) and Kim Jin-gap(金鎭甲). All of the above dealt with various products, and there’re exchange and contacting point with other such as exchange of technicians, taking over of factories and workshops, custom made and joint sales. There’s difference on detail, but main characteristics’re tourism souvenirs’re produced, ordered and sold in the name of ‘Joseon Specialty’, and the image of scenic and historic iinterest’s shared regardless of location, which continued until 1950s. Another point that gathers attention’s collaboration of modern craftsmen and artists. This combination’s found in other patterns and types of those days. Collaboration of artists, craftsmen and industrial factories’s done in the name of 'Joseon Specialty', and one of the subject matters’s the image of scenic and historic interest. This’s related to such circumstances as the use of craft design department(圖案室) or catalogue(圖案集) and the exchange of craftsmen and artists. Thus, the production structure’s researched such as the appearance of specific combination·standardization per each pattern, broad demand and characteristics in patterns, the taste of types and techniques preferred in modern craft items, the collaboration of modern craftsmen and artists, and the information of production·sales places and the correlation. Under the usage of ‘Joseon’ image and ‘tourism commemoration(觀光記念)', the same image of scenic and historic interest was shared, and was comprehensively connected with work of art, printing and tourism business as well as craft items. Korean Modern Crafts with the image of scenic and historic interest can be considered as the outcome appeared by being overlapped with the production of souvenir emerging with modernization as the concept and the image of ‘Joseon local products(朝鮮土産)', ‘Joseon regional products(朝鮮物産)' and ‘Joseon specialties(朝鮮特産)' emerged together with the development of tourism during colonial era. It started with the purpose of commemoration, but its scope’s extended and image became popular, being recognized by public. The renovation of space, visualization for sceneries and custom of tourist spots weren't limited within Joseon. In the West and Japan, tourist spots’re used for patterns of craft items. and the similarity between visual media and craft items’s also the case preceded. However the view of Joseon as old dynasty left in ruins’s given own character in the situation. It’s obvious result that Japanese tastes’re found in the preference reflected in the modern craft items in this process. The demand and supply of crafts with the image of scenic and historic interest of 'Miyage Interest' continued after 1940s under the name of ‘Export Craft(輸出工藝品)'. This gathers attention as the case that shows the characteristics of visual culture with a part of modern times reflected. This study is meaningful in that the flow of aspects is summarized as craft items with the image of scenic and historic interest were produced with a wide variety of materials and media. Nevertheless, when the contact points with other culture including Joseon's popular traditional figures and reproduction of relic preferred those days in addition to scenic and historic interest as the sceneries of Joseon’re considered, the review from more comprehensive perspectives is required, and regarding the production structure of modern craft and the production·sales places, additional consideration and follow-up research are needed.