『白社會帖』과〈白社老人會圖〉

송희경(Song Heekyung) 한국미술연구소 2004 美術史論壇 Vol.- No.18

The Baeksa Hoecheop (Baeksa assembly album, 『白社會帖』) is a commemorative album published on the event of the assembly of 14 elderly men in 1784. Composed of 22 pages, the paintings are executed ink and light color on paper, and measure 41.5×31.5㎝, The album begins with the tide, “Baeksa Dongyu (Baeksa members enjoy together, 白社同遊),” and then goes on in pages 4 and 5 recording the pen name, birth date, and birth place of the 14 members. According to the records in pages 4 and 5, the participants included Jeong Gye (鄭棨, 1710-1793), Hong Juman (洪周萬, 1718-?) Jeong Mok (鄭棨, 1720-?), Song Jeno (宋濟魯, 1711-?), Gang Sedong (姜世東, 1714-?), Jeong Jip (鄭集, 1715-?), Eom Gu (嚴球, 1716-?), Yi Jingdae (李徵大, 1717-?), O Myeonggu (吳命久, 1718-?), Hong Gihan (洪起翰, 1719-?), Yi Uihyeong (李宜馨, 1720-?), Yi Hyejo (李惠祚 1721-?), Yi Myoungjun (李命俊, 1722-?), and Sin Taekgwon (申宅權 1722-?). On pages 6 and 7, an introduction is written by Jeong Gye, while on pages 7 to 14, poetry composed by the participants are listed. On page 15, writings by Song Jeno can be seen, and on pages 16 and 17, additional comments by Yi Hyu (李休, 1708-?), Song Jeyu (宋濟愚 1708-?), Bak Heonchae (朴獻采 1716-?) and Hong Eungjin (洪應辰 1710-?) are found. On page 18, Hong Juman s essay (1793) is recorded, while on page 19, Sin Taekgwon S writing (1797) is found. On pages 20 and 21, it appears that Jeong Suyeong (鄭遂榮, 1743-1832)' s paintings were present, but they are now detached. Most of the participants were related to each other. Jeong Gye and Jeong Mok. Song Jeyu and Song Jeno were brothers, while Hong Juman and Gang Sedong, Sin Taekgwon and SongJeyu were in-laws. Moreover, Gang Sedong and Gang Sehwang came from dle same Gang family of the Jinju dan. Eom Gu' s father was Song jeno' s father-in-Iaw making the two brothers-in-law. Thus, the Baeksa-hoe(白社會) assembly members constituted of dose-knit families and friends, in similar ages. Jeong Gye writes in his introduction mat former officials gathered in me west of the city. outside me city walls, in order to spend time together enjoying each others company and composing poetry. And thus, this album was created to record the poetry. Moreover, Sin Taekgwon writes in another essay that the 18 participants were 'extremely dose to each other, sharing and disposing together,' and that their 'good health, comrort, and happiness coming from their correspondence' brought about the production of this album. After retirement, me participants Lived nearby one another and held regular' meetings recalling their past official lifestyle and enjoying their old age. Most of the poetry included in the Baeksa Hoecheop discuss the strong friendship among the participants or the lamentation on me ephemeral life of me contrasting past and present, instead of me depiction of natural scenery or me specific discussion of people. Vocabulary such as 'peaceful reign: 'song of good harvest: and 'dream of high posts' imply me wealth and glory enjoyed in dle younger days, In contrast, words Like 'old age: 'poor home covered in snow', and 'last sear' anticipate the distress and transient life of me aged. In his painting, Jeong Suyeong chose to adopt the circular' composition, often used in elderly assembly paintings or commemorative paintings, continuing the mid Joseon (朝鮮, 1392-1910) assembly painting tradition. By placing the pine tree which symbolized longevity. righteousness and friendship on the right hand Side, the painter emphasizes the lofty characteristics of the participants. Moreover, the elderly, wearing everyday clothes, are depicted with Light ink and colors in steady brushwork, TIle background is also painted with light colors, creating an elegant and mellow atmosphere. Thus, dle figures in me paintings of the Baeksa Assembly present a group of intellectual scholars who also enjoyed refilled aesthetic pleasures. The painting itself is a visual creation by me Literati who pursued idyllic morality and unworldly elegance. The Baek

1970년대 ‘소폭’ 동양화의 시각성과 그 교양적 기능 -남정 박노수(藍丁 朴魯壽, 1927~2013)의 ‘시가 있는 그림’을 중심으로-

송희경 ( Song Heekyung ) 한양대학교 동아시아문화연구소(구 한양대학교 한국학연구소) 2018 동아시아 문화연구 Vol.72 No.-

1970년대 미술계에서는 작은 화폭에 화사한 담채로 사군자, 산수, 화조, 인물 등을 표현한 동양화가 대량으로 생산되었다. 정서 함양과 여가 선용을 목적으로 한 ‘묵화(墨畵)’ 강습이 성행을 이루었고, 교양 잡지의 표지화, 목차화, 본문 컷에 지필묵으로 완성된 꽃, 정물, 산수 등이 실리는 등, 동양화가 대중적으로 확산된 것이다. 이는 이 시기 소폭 동양화의 인기를 알려주는 현상들이다. 동양화가들은 회장 미술과는 완전히 다른 양식의 산뜻한 소폭 그림을 제작하여 판매용으로 화랑에 전시했다. 박노수(朴魯壽, 1927~2013)도 1970년대에 시와 그림이 공존한 동양화를 화랑 전시용으로 많이 제작했다. 그는 다양한 소재를 화사하고 간결한 채색으로 표현했고, 해박한 한문학 지식을 토대로 수많은 한시를 화제로 적었다. 따라서 그의 동양화는 어느 곳에 진열해도 산뜻하고 우아한 분위기를 연출하는 실내 장식물로 사랑받았다. 1970년대의 소폭 동양화는 심오하고 엄격한 문인화의 창작론이나 양식 개념을 실현한 감상물이라기 보다 우리의 옛 것을 ‘교양’으로 숙지하려는 일반인의 취향에 부합된, 미적 소양을 키워주는 시각물로 유통되었다. 따라서 박노수의 그림을 포함한 소폭 동양화에서 교양물로 보급된 미술품의 대중성과 1970년대 물질문화의 한 단면이 발견된다. 이것이 1970년대 지필묵의 사회적 기능이자 동양화 열기가 간직한 다층적 함의라고 할 수 있다. In the art world of the 1970s, large quantities of oriental paintings were produced, which depicted Sagunja(Four Gentleman), Sansu(Landscape), Hwajo(Flower-and-Bird), In order to cultivate emotions and to use leisure activities, ink painting classes were performed. In addition, cultural magazines also introduced art to the public by displaying oriental paintings on cover, table of contents illustrations, and body illustrations. Artists of oriental painting in the literary magazine produced a neat opuscule in a completely different style from the exhibition art gallery and displayed it for sale in galleries. Park No-soo also produced many paintings of Oriental painting opuscule, in which poetry and painting coexist in the 1970s, for sale in galleries. He painted various materials in bright colors and simple colors, and based on the rich knowledge of Chinese literature, he wrote hundreds of poems in his paintings. Therefore, his small oriental paintings functioned as interior decorations to create a refreshing atmosphere no matter where they are displayed. It is hard to find the concept of creation or form of deep and strict literary art in the oriental paintings of the 1970s. Only the oriental paintings were visuals that foster aesthetic qualities in accordance with the tastes of the general public who want to know our old things as ‘cultures.’ Therefore, one of the popularity and the material culture of the 1970s is reconstructed from the small oriental paintings including paintings with poems of Pak Nosoo(朴魯壽, 1927~2013). This is a multi-layered implication of the social function of paperback in the 1970s and the enthusiasm for orientalization.

원문자(元文子, 1944- )의 한국화

송희경 ( Song Heekyung ) 이화여자대학교 한국문화연구원 2018 한국문화연구 Vol.34 No.-

한국화의 현대성 담론은 1950년대부터 지금까지 논의되어 왔지만, 정작 “현대성을 이룩한 동양화란 무엇인가”라는 질문의 해답을 찾기란 쉽지 않다. 이 글에서는 원문자(元文子, 1944- )의 작품 세계를 고찰하여 그 해답을 찾고자 했다. 원문자는 동양화 작가로 입문한 1960년대부터 지필묵으로 표현가능한 모든 기법을 탐구했다. 그리고 동아시아에서 길상과 기복의 표상이었던 진채 화조화의 원형을 계승하고, 이를 사생 몰골의 수묵 담채로 전환하여 일상성이 가미된 소경화조화를 제작했다. 1980년대 중반부터 발묵과 담채, 선염을 바탕으로 형태를 점차 간략화했고 1989년부터 닥종이를 활용한 한지부조 작업을 시도했으며 2000년대에는 균질한 입자의 반입체 수묵 추상화를 발표했다. 원문자가 평생 실험한 ‘한국화의 현대성’의 근간은 바로 지필묵이다. 그는 서양화의 재료와 구별되는 한지, 모필, 먹, 채색 안료, 아교 등이 ‘물’과 어우러졌을 때 파생되는 다양한 기법을 선보이면서 한국화의 현대성이 가능함을 제시했다. 평생 전통 재료의 물성을 탐구하며 평면에서 입체로 전환했고, 구상에서 추상으로 확장했다. 이것이 원문자의 한국화가 이룩한 현대성이 아닐까 한다. Although the discourse of modernity in Korean painting has been discussed since the 1950s, the answer to the question “What is modernization?” is still very controversial. In this article, I have tried to find the answer by examining the world of art works of Won, Moonja(元文子, 1944- ). Since the 1960s, when she first started to work as an oriental painting artist, she has explored all techniques that can be expressed in Jipilmook 紙筆墨. Succeeding the prototype of a deep-coloured painting of flowers and birds that were the symbols of luck and the wish-granting, in East Asia, she has transformed into a light-coloured ink-and-wash painting and completed small-scenery paintings about everyday life. Since the mid 1980s, she has simplified formality of shapes based on splashing, light colouring, and pre-dyeing, Since 1989, she has attempted to make a relievo using Hanji. In the 2000s, she completed the semi-3-dimensional abstract paintings of homogeneous particles. The foundation of her ‘modernity of Korean painting’ is Jipilmook, which she has experimented with for a long time. She has suggested that modernization of Korean painting is accomplishable by trying all the techniques created by combining Hanji, brush, ink, color pigments, and glue with ‘water’, which are distinguished from Western painting materials. For a moment she did not leave traditional materials, but she explored their properties, shifted from planar to solid, expanded from concept to abstract, and from deep-coloured to light-coloured. This may be the modernity that her Korean painting has achieved.

以堂 金殷鎬의 臣字款 회화

송희경(Song, Heekyung) 대동한문학회 2021 大東漢文學 Vol.68 No.-

신자관 회화란 ‘臣’, ‘謹寫’, ‘謹畵’, ‘敬寫’의 표기와 화가 이름이 함께 적힌 왕실 미술로서, 대한제국기 부터 순종 승하 전까지 집중 제작된 시각물을 뜻한다. 김은호의 신자관 회화는 ‘癸亥(1923)’ 간지의 <순종 어진 초본>, ‘戊午(1918)’ 간지의 병풍화, ‘庚申(1920)’ 간지의 창덕궁 대조전 付壁畵 및 기타 회화 등으로 분류된다. ‘계해’ 간지의 <순종 어진 초본>은 황실 사진사로 활동한 이와타 카나에(岩田 鼎, 1870~?)가 1909년 촬영한 사진을 보고 그렸으나, 어떤 정본을 위한 초본인지 분명하지 않다. 현재 김은호의 ‘계해’ 간지 초본이 여러 점 남아 있어, 김은호 자신이 소지한 초본을 1923년에 일괄 서명했을 가능성도 적지 않다. 김은호는 중국 화보와 스승 안중식의 가르침을 토대로 무오년 병풍화 3점을 완성하였다. 이는 고종의 환후를 위해 왕실에 헌상되어 함녕전에 진설되었을 것으로 보인다. 또한 김은호는 1920년 중건된 창덕궁 부벽화 제작에 참여하여 <백학도>를 담당하였다. 대조전 서벽에 걸린 <백학도>는 ‘海巖群鶴’을 그린 화려한 진채화이다. 김은호가 ‘庚申菊秋節’, 즉 1920년 가을에 그린 신자관 회화 2점도 전해진다. 이는 여타 작가의 그림과 함께 창덕궁 대조전 낙성식을 축하하며 순종에게 헌상된 것으로 추정된다. 김은호가 왕실에 바친 회화는 간결하면서도 화사하고 장식적이다. 청년 김은호의 무르익는 필력이 돋보이는 군주의 시각물인 셈이다. The Shinja-gwan(臣字款) paintings were royal artwork on which the names of their artists were written alongside the notations ‘臣’, ‘謹寫’, ‘謹畵’, ‘敬寫’. Such was a message to the king that wrote,(“Thy loyal servant [the name of the artist] humbly tributes.”) The Shinja-gwan paintings were visuals that were intensively produced since the Korean Empire era until the demise of Emperor Sunjong. The Shinja-gwan paintings by Kim Eunho are categorized as the following: the draft of the royal portrait of Emperor Sunjong of the Gyehae Year (1923), the folding screen of the Muo Year (1918), the mural on the wall at the Daejojeon of the Changdeok Palace of the Gyeongsin Year (1920), and other paintings. The draft of the royal portrait of Emperor Sunjong of the Gyehae Year(possessed by the National Museum of Modern and Contemporary Art) was drawn from a photograph taken in 1909 by an imperial photographer Kanae Iwata (岩田 鼎, 1870~?). However, the original manuscript for which this draft was meant is unclear. Under these circumstances, several drafts of the Gyehae Year drawn by KIm Eunho remain to date. This suggests that Kim Eunho himself may have collectively signed in 1923 all the drafts that he owned.Based on Chinese pictorials and the teachings of his teacher Ahn Joongsik, Kim Eunho completed three pieces of the folding screens of the Muo Year. These pieces appear to have been set up in the Hamnyeongjeon, so that they could be presented to the royal family in order to wish for the recovery of Emperor Gojong. Also, Kim Eunho participated in the production of the mural at the Changdeok Palace (the palace rebuilt in 1920) and took charge of Baekhak-do(the Painting of the White Cranes). His Baekhak-do, hung on the Western Wall of the Daejojeon was a splendid painting that depicted a sea, a boulder, and a flock of cranes. In this situation, ‘Gyeongsin Gukchoo-jeol(庚申 菊秋節)’, the two paintings, he painted in the fall of 1920, have also been passed down to date. These paintings, along with those by other artists , have been presumably included in the production of a folding screen and presented to Emperor Sunjong to celebrate the reopening of the Daejo Court of the Changdeok Palace. The paintings presented by Kim Eunho to the royal family are concise but bright and decorative. They are visual works for a monarch in which the ripe writing of the young Kim Eunho stands out.

위사(渭士) 강필주(姜弼周)의 행적과 회화

송희경 ( Song Heekyung ) 온지학회 2021 溫知論叢 Vol.- No.68

위사(渭士) 강필주(姜弼周, 1852-1932)는 구한말을 거쳐 일제강점기까지 활동한 화가다. 대한제국기에는 여러 도감의 화원으로, 1910년대에는 서화미술회와 서화협회의 회원으로 활동하였다. 그리고 장승업(張承業, 1843-1897)의 양식을 계승하여 산수화, 인물화, 화조화, 기명절지도 등, 동양 회화의 다양한 제재를 두루 섭렵하였다. 화가 강필주의 공식 이력은 1900년 어진모사도감의 방외화원 선발에서부터 확인된다. 왕실과의 인연이 돈독하여 여러 의궤에 화사로 활약하거나, 고종이 주관한 함녕전 휘호에 참여하기도 하였다. 특히 음력 1917년 ‘납월 상순’에 완성한 국립고궁박물관 소장 ≪기명절지도≫와 ≪노안도≫ 가리개는 왕세자 이은(李垠, 1897-1970)의 조선 방문을 기념하며 제작한 시각물이라고 판단된다. 이는 7년 만에 귀국한 왕세자와 고종, 순종이 함께 한 함녕전서온돌 오찬에 활용되었을 가능성이 높다. 강필주는 1910년대 전통화단을 이끈 서화미술회와 서화협회의 회원으로 활동하면서 적지 않은 휘호회나 합작 제작에 참여하였다. 이러한 경우에는 주로 노안도나 산수화를 많이 그렸다. 현장에서 바로 그림을 완성해야 하는 시간적 제한과, 여타 작가의 화목과의 차별화를 위한 의도였을 것으로 생각된다. Kang Pil-joo, also known for the art name Wei-sa, was an artist who was active from the Late Period of the Joseon Dynasty to the Japanese Colonial Period. He was active as a painter of various illustrated books during the Korean Empire and as a member of the Calligraphy and Painting Art Society and the Calligraphy and Painting Association in the 1910s. Furthermore, inheriting the style of Jang Seung-eop, he mastered all the materials of oriental painting, such as landscape paintings, portrait paintings, flower bird paintings, and still-life paintings of bowls and flowers. Once can find the official history of Kang Pil-joo from as early as the selection of a nongovernmental painter in 1900. He also had a strong relationship with the members of the Royal House of Yi. Thus, he was active as a painter in various Uigwe (recordings of royal rituals and ceremonies of the Joseon Dynasty). He also participated in the artist gatherings for collaborative painting at Hamnyeongjeon, hosted by King Emeritus Gojong. In particular, the still-life paintings of bowls and flowers and wild goose paintings, completed at the beginning of the lunar calendar in 1917 and currently in the collection of the National Palace Museum, are judged to have been visuals created to commemorate the visit of Crown Prince Yi Eun to Joseon. Such a judgment is based on the high probability that it was used for the celebratory luncheon in the West Ondol Chamber of Hamnyeongjeon, where the Crown Prince, who returned to Korea after 7 years, was joined by King Emeritus Gojong and King Sunjong. Kang Pil-joo was a member of the Calligraphy and Painting Art Society and the Calligraphy and Painting Association, which led the traditional art world in the 1910s; he also participated in a number of artist gatherings for joint painting and collaborative productions. On such occasions, he mainly painted wild goose paintings or landscape paintings. Such is interpreted to be the result of a combination of the time limit of having to complete the painting on the spot and the intention to differentiate it from other artists' harmonies.

일초 이철주(逸初 李澈周, 1941- )의 한국화

송희경 ( Song Heekyung ) 이화여자대학교 한국문화연구원 2017 한국문화연구 Vol.32 No.-

이철주는 1960년대 서울대학교 미술대학 회화과에서 동양화를 전공하고, 국내 최고의 관전이었던 대한민국미술전람회에서 국무총리상과 문화공보부장관상을 2번이나 수상했으며, 대학에서 교편을 잡은 한국화가이다. 그는 1960년대 중반부터 1980년대 후반까지 인물과 풍경을 정확하게 사생한 후 이를 새로운 양식으로 표현하는 작업을 지속했다. 그가 화폭에 재현한 대상들은 전통문화를 계승하는 명장이나 예술인, 서민의 고단한 생활상, 개발과 건설이 한창인 도시 등 매우 다양했다. 동시대의 현장성을 기록했던 그의 작업은 1990년대 초반부터 변모한다. 우주라는 상상의 세계를 대상으로 구상에서 비구상으로 전환한 것이다. 이 시기에 제작된 그림은 획이 파생한 문자의 구성을 기본으로 하면서 전면회화 양식을 추구하거나 같은 도형의 셀을 재조합하는 추상화였다. 특히 <소우주> 연작에서는 정사각형의 화면을 다시 분할한 후 중앙에 사물을 배치했다. 이러한 시각성은 그가 새롭게 재편한 질서와 우주관의 또 다른 표현이다. 현재까지도 그는 점차 색을 배제하고 먹만을 사용한 강렬한 추상화를 지속하고 있다. 그림에서 `획(劃)`을 가장 중요시 했던 이철주는 인물화나 도시 풍경화에서부터 형상을 변형한 추상화에 이르기까지 지필묵이 구사 가능한 모든 조형언어를 두루 섭렵했다. 특히 현재에도 수묵 추상을 지속하면서 현대 한국화에 있어서 수묵의 가치를 높이기 위해 색다른 방법론을 모색하고 있다. 따라서 그의 작품에서는 전통을 지키되 변화하는 시대적 미술 사조와 여러 방법론을 모색했던 현대 한국화의 복합적인 특성이 발견된다. Lee, Cheoljoo, an artist who specializes in Korean painting, graduated from the Seoul National University`s College of Fine Arts with a major in Oriental Painting. He won two Minister of Culture and Communications prizes in the National Art Exhibition of the Republic of Korea, the largest art exhibition in Korea at that time, and eventually turned to teaching. From mid-1960s to late 1980s, Lee worked on creating a precise replication of a portrait or a landscape initially, and then expressed the replication using new techniques. His works were drawn from a wide range of subjects, from master artisans or artists of traditional culture, to the difficult lives of the common people and the development of the urban landscape. Lee`s work underwent a significant change from the actual contemporary world in the early 1990s, as he turned to nonfigurative art, exploring a world of imagination―space. The paintings produced during this period are abstract pieces based on a sequence of characters formed from the strokes, which feature constructions of all-over patterns or recombinations of cells made from identical polygons. His Microcosmos series, for instance, divides the rectangular screen and places objects in the center of the rectangle. Such visuals express Lee`s new order and cosmology. Lee continues to work with powerful and abstract imagery, using only the ink and excluding all colors except black and white. Lee, Cheoljoo who emphasized the importance of “stroke” (劃) in a painting, has mastered all techniques of construction possible from the trinity of paper, ink, and brush, from portrait and urban landscape to abstract pieces. Thus, his pieces represent the question on the need to preserve tradition, and the search for the changing techniques and artistic trends of the present time that are essential in the field of modern Korean painting.