魁星 圖像의 기원과 전개

배원정 국립중앙박물관 2013 미술자료 Vol.- No.84

Kui Xing(魁星) is a deity created by the intense wish of literary men who were taking a state exam in ancient China. It was originally just a part of an astronomical constellation, but the brutal state exam system of Ming Dynasty gave birth to it. In other words, a new icon was born out of the desire of literary men that wanted a specific image of deity to wish for their successful passing in the state exam. Kui Xing presents a unique case of creating an icon with the meanings and sounds of letters and then pictorializing them. The icon of Kui Xing, which is still loved today, was the result of a combination between the imagination of people to specifically embody their strong wish for passing the state exam those days and the resulting symbolism of significance. It is not clear exactly when its icon was created, but it is very likely, given the records and remaining artifacts, that it was created, established, or full-blown during Ming Dynasty after years of mere existence. It was during Ming Dynasty that the state exam system of China came in full scale true to its name. It should not be a coincidence that the image of Kui Xing was established during the period. The faith and icon of Kui Xing started to spread and grow among the literary men at an alarming pace during Ming Dynasty. Their influences have been so great that they have continued on through Qing Dynasty, early modern days, and even contemporary times. Researches on Kui Xing, however, remain at the level of concept arrangement as a deity of Taoism or a folk deity in spite of its huge importance. The icon of Kui Xing established during Ming Dynasty was created as a complete work by major artists such as Ding Yunpeng and Gao Qipei. It was then popularized and became universal via such publications as Sancaituhui. In Qing Dynasty, the icon of Kui Xing was transformed into a much more comprehensive object of faith to be used in a religious ceremony beyond its original significance of bringing luck to pass an exam. Painting of Kui Xing by Ma Dezhao at the end of Qing Dynasty is an example of the Kui Xing icon's universalization and popularization to the extreme across many different dimensions including form, style, and meaning. Its influence is so immense that it is widely used in the study rooms of Chinese examinees today. In Joseon where there was no brutal state exam culture like the case of China, the icon of Kui Xing itself had a difficult time inducing favorable responses from people. There are rare cases of the icon in South Korea such as Painting of Lei Gong at the National Museum of Korea, which suggest that it must have been introduced to Joseon as a theme for painting separate from its character and functions in China. There is no doubt that most literary men were exposed to the icon of Kui Xing since they were eager to rise in the world and gain fame. Kui Xing is a great case to demonstrate how social needs would affect the icons and styles of artistic works. It is such an interesting icon that clearly reflects how an image created by a need would change over time in addition to the rich imagination and minuteness of people those days. It is also an important example of relations between character and image and between character and art.

한양대학교박물관 소장 <海上群仙圖> 연구

배원정 한국대학박물관협회 2009 고문화 Vol.73 No.-

Saints Crossing the Sea shows a group of saints that have each own unique value in terms of praying for good luck. The artists seem to have wanted to wish for more diverse kinds of fortune at a time by putting in a group of several saints instead of one or two with certain abilities. Housed at Hanyang University Museum, the painting is the joint work between Jo Seok-jin and Ahn Jung-shik, the number of whose joint works is not very big. Among the few joint works, the painting is regarded as one of their masterpieces and the fruit of their devoted work. On the canvas, there are the names of each icon, poems to describe them, and the motivation for and the date of painting. Those records grant the painting huge value since they provide some hints about the phenomenon of the work and the style characteristics of the same kind of painting those days. The analysis results of its icons and style reveal that Jo painted the background and Ahn the figures and wrote the title. On the right of the title are the two painters' four red rectangular seals. What's also interesting about the painting is that it presents new icons not seen from the old paintings of saints crossing the sea. In the painting, the two artists were under the huge influence of the Shanghai School while following Jang Seung-eop's style in many ways. It's pointed out that Jo and Ahn created works that were connected to the style of Jang and that of the Shanghai School. Their Saints Crossing the Sea shows closer connections to the Shanghai School than Jang's style, which suggests that the two artists graduated from Jang's style that they had learned as students. Their Saints Crossing the Sea claims great significance in that it inherited the tradition of Chosun's paintings of saints crossing the sea, which kind of painting had been constantly created from the middle to the end of the dynasty, and that it's a good example of Taoist and Buddhist figure paintings with the powerful reflection of Korean traits. 海上君仙圖는 여러 신선들이 물 위에 떠 있거나 渡海하는 모습을 그린 그림을 말한다. 여기에 등장하는 신선들은 각각 특정한 기복적인 의미들을 갖고 있는데, 어떤 능력을 지닌 신선 하나나 둘보다는 여러 신선들을 무리지어 그려 넣음으로써 보다 다양한 복을 한꺼번에 받고자 하는 의도에서 나오게 된 유형의 작품이다. 한양대학교박물관 소장 <海上君仙圖>는 조선 말, 근대화단으로 연결되는 가교 역할을 담당했던 조석진과 안중식의 합작품으로, 이들이 합사한 작품은 전해지는 수가 거의 없으며, 병풍 형태나 단일 신선도의 형태가 아닌 大作으로 그려져 더욱 주목된다. 또한 지금까지 알려진 조석진과 안중식의 최초 기년명 작품보다 시대가 앞선 것으로 두 화가의 기년명 작품의 상한연대를 1892년까지 올려볼 수 있게 되었다. 화면에는 각 도상의 이름과 이를 설명하는 題畵時 등이 덧붙여 있을 뿐만 아니라, 작품의 제작 동기와 제작연대를 기록하고 있어 작품의 現狀과 당시 그려지던 해상군선도의 화풍상 특징을 파악하기에 높은 가치를 지녔다. 또한 ‘雲草’에게 그려준 작품이라는 점을 명시해 놓아 이 그림이 壽福의 의미를 담아 선물로 제작된 그림임을 알려주고 있으며, ‘운초’는 조선총독부 중추원 참의를 지낸 玄檃이 현재로서 가장 유력한 인물로 추정된다. 작품에서 보이는 도상과 양식을 분석한 결과 산수배경은 조석진이, 인물과 畵題는 안중식이 제작한 것으로 추정된다. <해상군선도>에는 장승업 및 해파 화풍이 반영되어 있으며, 특히 任伯年의 스승이자, 선배격인 任熊 화풍의 영향을 많이 받은 모습이다. 한양대학교박물관 소장 <해상군선도>는 조선 중기이래로 후기, 말기에 이르기까지 꾸준히 제작되어 온 조선시대 해상군선도의 전통을 잇고 있는 작품이자, 한국적 특징을 반영한 도석인물화의 한 예로서 중요한 의미를 갖고 있다.

역사학 : 고려시대궁중회화(高麗時代宮中繪畵)의 성격(性格)과 특징(特徵)

배원정 대구가톨릭대학교 인문과학연구소 2010 인문과학연구 Vol.0 No.14

Goryeo paintings do not remain in big numbers, and even the remaining few do not have definite creation dates or authenticity proof, which makes research on Goryeo`s court paintings even more challenging. Paying attention to the fact that Goryeo`s court paintings do have common elements with other general paintings, however, this study set out to collect and analyze data about Goryeo paintings studied to date and examine the nature and characteristics of Goryeo`s court paintings in details. Goryeo is regarded as the dawning in the history of Korean paintings since it was Goryeo that Korean paintings started to witness the full-scale spread of general landscape paintings, paintings of flowers and birds, and figure paintings. Influenced by Buddhism in early Goryeo and Sung Dynasty`s Sung Confucianism imported since middle Goryeo, Goryeo`s social perceptions began to change starting in the middle period. Goryeo paintings also started to show different trends from before; Goryeo`s active exchanges with Northern Sung resulted in the transmission of Sung`s advanced and various painting trends and systems including Kuo Hsi`s style and literati painting; a group of painters called dilettante literati artists emerged; paintings for Mo-xi(joy with Chinese painting) appreciation made a full-blown debut; the Hwa-guk was founded and the painters played remarkable roles; and a tradition of Silgyeongsansuhwa(real scenery landscape painting) in the family of Myeongseungmyeongsodo(the painting of noted scenery and celebrated locality) was also created. In addition to those trends and tendencies that deserve some attention, Goryeo paintings claim breakthrough significance that distinguishes them from their predecessors in that they made the foundation of medieval development in Korean paintings. In Goryeo, it was also checked out that Dohwawon was established which produced painters and governed Hoisas. Thus it provides crucial clues about Goryeo`s court paintings. Given that Goryeo`s court paintings are the predecessors of Joseon`s court paintings and their base since court paintings place great value on precedents, it is critical to examine their concepts, nature, and characteristics. The study first examined the background behind the creation of Goryeo`s court paintings. In Goryeo, the ancient traditions, which used to prosper on the basis of Buddhism, were inherited and developed more sophisticated and splendid. New trends never seen before started to emerge in general paintings. Among them, the tendency of Hanmuk as a literary man and the theory of literati paintings enabled them to form a medieval painting practice and promote the growth of general paintings in full scale. The nature and characteristics of Goryeo`s court paintings that were created with such a background are as follows; first, the practice, interest, and support of the nobility and the gentry provided an important base for the creation of Goryeo`s court paintings and served as one of the critical factors to define their nature. Then their connections with China were analyzed. During Goryeo, not only the civil ministers but also traders imported and appreciated diverse Chinese paintings through the sea and land routes, and such an atmosphere must have affected Goryeo`s court paintings. Finally, their connections with Confucianism, Buddhism, and Taoism were investigated. Focusing on the fact that the Goryeo culture was based on Confucianism, Buddhism, and Taoism, the investigator demonstrated that there were influential relationships between the court paintings and Confucianism, Buddhism, and Taoism. The research findings show that Goryeo`s court paintings were connected to and inherited to Joseon`s court paintings and served as an important fertilizer in the systematic growth of court paintings.

김관호(金觀鎬, 1890-1959) 행적의 새로운 고증과 제 문제

배원정 미술사학연구회 2021 美術史學報 Vol.- No.57

Kim Kwan-ho (1890-1959) painted Korea’s first nude painting in the early days of Western painting, and was the first Korean to hold an individual exhibition. After graduating from the Tokyo National Fine Art School as the top student, he was the only Korean painter to win a special prize at the Japanese Munbuseong Exhibition. In this study, the discovery of new data related to Kim Kwan-ho, interviews with bereaved families, and various newspaper articles were comprehensively analyzed to newly testify and reconstruct his actions. In addition, by examining the formation and development process of the Sakseong hoe, which he organized in 1925, with the aim of fostering the younger generation, the role and meaning of the Sakseong hoe in the Pyongyang painting circle were summarized. Finally, it was revealed that Dong-woo, known as Kim Kwan-ho’s pen name so far, belonged to Kim Kwan-ho of the same name, who was the royal officials of the Korean Empire, to correct the misunderstandings and errors surrounding Kim Kwan-ho, and to promote objective understanding and research. 김관호(金觀鎬, 1890-1959)는 서양화 도입기에 파격적으로 한국 최초의 누드화를 그렸으며, 조선인으로서는 처음으로 개인전을 열었던 한국 근대 서양화단을 대표하는 화가이다. 도쿄미술학교를 수석으로 졸업하고, 조선인 화가 가운데 유일하게 일본 문부성전람회(文部省展覽會) 에서 특선을 수상하였다. 본 연구에서는 김관호와 관련된 새로운 자료의 발굴과 유족들의 인터뷰, 여러 신문기사들을 종합적으로 분석하여 그의 행적을 새롭게 고증하고 재구성하였다. 또한 후진 양성을 목표로 그가 1925년 조직하였던 삭성회의 형성과 전개과정에 대해 살펴봄으로써 평양화단에서 삭성회의 역할과 의미가 무엇이었는지 정리하였다. 마지막으로 지금까지 김관호의 호로 알려져 있던 ‘동우’가 대한제국 궁내부 사무관이었던 동명이인의 김관호의 것임을 밝혀내어 서양화가 김관호를 둘러싼 오해와 오류들을 수정하고, 그에 대한 객관적인 이해와 연구를 도모하고자 하였다.

근대 여성화가 정찬영(1906-1988)의 채색화조화 연구

배원정 미술사학연구회 2019 美術史學報 Vol.- No.53

Chung Chan-young(1906-1988) is one of the most female painters representing the ink-andpainting flower beds of Korea’s modern era. Chung Chan-young, who learned painting from Lee Young-il and started as a painter, rose to prominence as a painter. As Lee Young-il used a style of blank colored painting derived from modern Japanese paintings, Jung Chan-young also showed the world of works focusing on painting by Jin-chae. Chung Chan-young’s case is also meaningful in that it is an example of a very early female writer. Although it was a pioneering work of feminization compared to Park Rae-hyeon and Chun Kyung-ja in the Oriental Painting Company, it has never been discussed in depth. It is even more meaningful because she was a modern female artist who still had a strong traditional weight despite the change in women’s position, and was a figure who made a clear mark in the Joseon art exhibition. In this paper, we are going to comprehensively review the background of Jung Chan-young’s career and painting background as a female writer in the modern era, and the development and characteristics of the world. 정찬영(1906-1988)은 한국 근대기 수묵채색화단을 대표하는 여성화가 가운데 한 명이다. 근대기의 공필채색화가 이영일로부터 그림을 배우고 화가로 입문한 정찬영은 화조화가로 두각을 나타냈다. 이영일이 근대 일본회화로부터 기인한 공필채색화조화풍을 구사하였기 때문에 정찬영 역시 공필 진채의 화조화를 중심으로 작품세계를 전개해 나가는 모습을 보였다. 정찬영의 경우 매우 이른 여성작가의 사례라는 점에서도 의미 깊다. 동양화단에서 박래현이나 천경자에 비해서도 선구적인 활동을 펼쳤던 여성화가였지만 현재까지 심도 깊게 논의되었던 적은 없었다. 여성의 입지가 크게 바뀌는 가운데에서도 여전히 전통의 무게가 가볍지 않았던 근대기 여성화가로서 조선미술전람화에 입상하는 등 뚜렷한 족적을 남겼던 인물이기에 그 의미가 더욱 깊다. 본고에서는 근대기 여성작가로서 정찬영이 활약할 수 있었던 배경과 그 생애와 회화적 배경, 회화세계의 전개와 특징을 종합적으로 검토하고자 한다.

[資料紹介] 한양대학교박물관 소장 丁學敎 筆 〈怪石圖〉

배원정 한국대학박물관협회 2010 고문화 Vol.75 No.-

丁學敎(1832~1914)는 조선 말기에서 근대로 변화하는 시기에 새로운 경향을 화폭에 담아낸 여항문인 화가로 竹石圖, 怪石圖등 문인화가들이 즐겨 그린 畵目을 많이 그렸다. 특히 괴석도에 능해 담백하면서도 섬세한 필치로 바위의 특성을 예리하게 포착하여 묘사한 것으로 평가받는다. 한양대학교박물관 소장 〈怪石圖〉屛風은 1979년 이활 선생이 한양대학교에 기증한 것으로 이제까지 작품자체에 대한 면밀한 연구는 없었으며, 소략한 도판의 소개 정도만 이루어졌을 뿐이다. 이작품은 이제까지 정학교의 1897년 이후의 후기작으로 분류되던 작품이었으나, 제발의 해석을 통해 1877년 겨울에 그린 비교적 초기작임이 확인된다. 조선말기의 회화는 중국 청대 화단과 밀접한 관련성을 지니고 있으며, 정학교 또한 淸代揚州畵派 및 海上畵派의 회화와 중국의 畵譜로부터 많은 영향을 받은 것으로 추정되는데, 중국의 眞蹟이 구하기 어려웠던 당시 상황에서 실제 청대의 회화 작품보다는 화보가 더욱 큰 참조의 대상이 되었던 것으로 보인다. 정학교의 경우 현재까지『顧氏畵譜』, 『芥子園畵傳』, 『齋畵勝』등과의 관련성만이 언급되어왔지만, 한양대학교박물관 소장 〈괴석도〉의 경우 石譜의 효시이자, 원조격인『素園石譜』와 밀접한 관련성을 지니고 있는 것으로 추정된다. 또한 수묵기법으로만 제작하거나, 마치 형이상학적 괴체를 표현해 놓은 것 같은 후기의 여타 작품들과 달리 담채를 이용한 점, 그리고 괴석을 사실적으로 묘사한 점 등도 한양대학교박물관 소장 〈괴석도〉의 특징으로 정학교 괴석도의 초기적인 특징을 반영하는 것으로 생각된다. Jeong Hak Kyo(1832-1914) was a painter of Yeo-hang literary men who drew pictures showing new trends during the period between the late Joseon and modern Korea, especially famous for drawing original oddly shaped paintings. His family clan was Naju, his alias was Hak Kyo, and Ja was Hwa Kyung. His pseudonym (Ho) included Hyang Su, Mong In, and Mong Jung Mong In. Thought not clear, he might take up a public office as a country headman (the fourth degree of Jong). He was good at calligraphic styles including Jeon, Ye, Hang, and Cho, and drew mainly plants and trees such as bamboo-and-rock or oddly-shaped rock paintings, which were frequently drawn by literary-man painters. Jeong’s paintings are assessed to sharply capture and describe the characteristics of rocks with bland but detailed style. Oddly Shaped Rock of the Hanyang University Museum was donated by Lee Hwal in 1979 no detailed research has been conducted for the painting, except for short description for its artwork. The painting had been classified as one of Jeong’s later works after 1897, but it was verified to be painted in the summer of 1877 and be his relatively earlier one, by interpretation of Je Bal. Paintings in late Joseon Dynasty were closely related to painting circles of Qing Dynasty. Jeong Hak Kyo was also estimated to be affected mainly by paintings of Yang Ju and Hae Sang circles, as well as Chinese art books. Given that actual works of China were hard to be received at that time, he might refer rather the art books than real Qing paintings. As for Jeong, only his association with Ko-si-hwa-bo, Kaeja-won-hwa-jeon, and In-jae-hwa-seung has been considered, but his Oddly Shaped Rock of the Hanyang University Museum is estimated to be the beginning of Seok-bo and to be closely related to Sowon-seok-bo as one of the first Seok-bos. Also, Oddly Shaped Rock of the Hanyang University Museum is characteristic in that it was used of thin coloring unlike his other works painted only by inking and that it described oddly-shaped rocks realistically unlike his other works in which such rocks were described as metaphysically weird things. Such characteristics are considered to reflect early properties of his oddly shaped rock paintings.

20세기 중국의 工筆花鳥畵와 일본 미술

배원정(裴原正) 미술사연구회 2016 미술사연구 Vol.- No.31

The genre of f lower and bird painting in the gongbi (工筆) style was led by Chen Zhifu (1896~1962) of Zhejiang, in southern China, and Yu Feian (1888-1959) of Beijing, in the north of the country, to the extent where the phrase “Chen in the south and Yu in the north” (南陳北于) was coined. Meanwhile, recent progress in the study of Liu Kuiling (1885~1967) has served to highlight his importance. It can be said that these three artists effectively led the field of 20th-century Chinese gongbi flower and bird painting. As the first generation of modern Chinese painters of the genre, each of the three formed his own school and remains influential today. Gongbi flower and bird paintings are colorful works painted using slender brush strokes. This genre endured a long period of exclusion and stagnation from the Yuan dynasty, when scholar artists became dominant and gongbi flower and bird paintings were eclipsed by those painted in the freehand, suggestive xieyi (寫意) style. In fact, gongbi flower and bird paintings, a non-mainstream genre, only survived due to popular demand for them as decoration for craft items. Within this broad historical context of flower and bird paintings, gongbi versions began receiving attention, for the first time since the Song dynasty, in conjunction with the coexistence of conservatism and innovation that characterized Chinese painting in the 20th century. There are various reasons for the new styles and techniques introduced to gongbi flower and bird paintings amid this new attention, but this study determines that one of the most significant factors was a process of artistic negotiation with Japan. Chen Zhifu"s period of study in Japan, and the designs he learned there, played a decisive role in forming his gongbi flower and bird painting style, while Yu Feian and Liu Kuiling were able to encounter Japanese art at joint Chinese-Japanese exhibitions held at the time. Chen, Yu and Liu each ref lected Japanese painting styles differently in their works, in terms of subject matter, technique and composition. The appearance of previously absent animal paintings tells us that examination of this genre, once thought to have been produced only by painters of the Lingnan School, must now also be extended to include the treaty port of Tianjin. Meanwhile, Chen showed signs of direct influence from Japan, borrowing unaltered elements from Japanese painting albums. The study also examines how the tarashikomi technique, a major characteristic of Japanese flower and bird painting, was used and transformed by all three artists. Further inf luence from Japanese techniques was also found throughout other aspects of Chinese gongbi flower and bird paintings, including depiction of animal fur and print-style flowers. It can be said that Japanese influence generally came in the form of decorative elements from the Rinpa school the painting style of the Kyoto school, itself descended from the Maruyama-Shijō school. The author was also able to perceive influence from painters who graduated Tokyo School of Fine Arts, founded Japan Art Institute and developed the Sin-nihonga Movement. This gives a sense that comprehensive study of the character of color gongbi paintings in East Asia, and of related exchange between China, Korea and Japan, is needed.

운동 유발성 천식 환아에서 혈청 Eosinophil Cationic Protein의 변화 및 비특이적 기관지 과민 반응과의 관계

배원정,박정권,이재욱,강임주 대한천식 및 알레르기학회 ( 구 대한알레르기학회 ) 1995 추계학술대회 초록집 Vol.1995 No.-

중국 근대 천진의 개항과 유규령(劉奎齡)의 회화

배원정 명지대학교(서울캠퍼스) 인문과학연구소 2021 인문과학연구논총 Vol.42 No.2

청대 사왕오운(四王吳惲)으로 대표되는 정통파(正統派) 스타일이 주류로 자리 잡고 있던 천진화단(天津畵壇)에 있어 개항 후 유입됐던 서양화법과 일본화풍은 화가들 사이에 새로운 긴장관계를 형성하였다. 유규령(劉奎齡, 1885-1967) 의 회화는 이러한 영향이 한데 어우러지고 융합됨으로써 20세기 공필화조화의새로운 양식을 창안하고 천진화단의 공필화조화풍을 형성하는데 커다란 역할을하였다. 개항 후 9개국의 조계(租界)가 설립되는 동안 정치적으로 가장 첨예했던 개항장 천진에서 온갖 다양한 문화를 접하며 그 속에서 완성시킨 그의 공필화조화는 전통과 개방의 충돌이 빚어낸 하나의 독특한 산물이라는 점에서 의의가크다. In Tianjin Art, where Qing's academic style was mainstream, Western painting methods and Japanese painting styles, which had been introduced since the opening of the port, formed a new tension among artists. Liu Kui-Ling (1885-1967)'s paintings played a major role in creating newstyles of delicate flower and bird painting in the 20th century by combining and converging these influences. After the opening of the port, he encountered all kinds of diverse cultures in Tianjin, the most politically acute of the Jogye in nine countries. His paintings, completed in them, are significant in that they are a unique product of the conflict between tradition and openness.

신예화가 박수근의 등단: 춘천과 평양에서의 초기 미술활동을 중심으로

배원정 한국미술연구소 2022 美術史論壇 Vol.- No.54

Park Soo-Keun(1914-1965) was one of the representative painters of modern and contemporary Korean art. He always has modifiers such as “National Painter”, and “local painter”. Nevertheless, little is known about his early activities in Chuncheon and Pyongyang. In this study, it was found that Park Soo-geun was known as a "unfortunate painter who has never held an individual exhibition in his life" through newly discovered literature data such as newspapers and magazines, but in fact, he held two individual exhibitions in Chuncheon. This was possible because of the sponsorship of Miyoshi Iwakichi, the director of social affairs at the Gangwon-do Office, and the Soyang Club in Chuncheon. In addition, it was examined that Park Soo-geun did not receive regular art education, but there was direct or indirect exchange with Japanese art teachers in Chuncheon high school. Meanwhile, it was confirmed that Park Soo-Keun, who was hired as a worker of Pyeongnam-do with the help of manager Miyoshi, was in charge of drawing a Kamishibai promoted by the Governor-General of Chosun during the war. His first Kamishibai was “Activity of the Patriotic Class.” During his stay in Pyongyang, he was selected for the 19th to 22nd consecutive “ Government- supervised art exhibitions”, and won the “Battlefield Art Exhibition,” showing consistency in submitting to the contest even in the exhibition. 박수근(朴壽根, 1914-1965)은 한국 근현대 미술을 대표하는 화가 중 한 명이다. 그에게는 ‘국민화가’, ‘민족의 화가’, ‘향토적인 화가’라는 수식어가 늘 따라다닌다. 그럼에도 그의 독자적인 양식과 화풍을 형성하는데 기반이 되었을 춘천과 평양에 서의 초기 활동에 대해서는 알려진 사실이 거의 없다. 본 연구에서는 새롭게 발굴한 신문 및 잡지 등의 문헌자료를 통해 박수근이 ‘생애 한 번도 개인전을 열지 못한 비운의 화가’라고 알려졌지만, 실상 춘천에서 두 번의 개인전을 개최한 적이 있었음을 밝혀내었다. 여기에는 강원도청 사회과장 미요시 이와키치(三吉岩吉)와 춘천의 소양구락부(昭陽俱樂部) 사진회의 후원이 있었기 때문에 가능하였다. 또한 박수근이 정규 미술교육은 받지 못하였지만, 춘천고보(春川高普)의 일본인 미술 교사들과 직간접적인 교류의 가능성도 짚어보았다. 한편, 미요시 과장의 도움으로 평남도청 사회과 직원으로 채용된 박수근은 1939년 인터뷰 기사가 새롭게 발견됨에 따라 그가 조선총독부에서 전쟁 시기 추진했던 국책(國策) 종이연극(紙芝居, 가미시바이)을 그리는 일을 맡게 됐음이 확인되었다. 그가 처음 그린 종이연극은 《애국반의 활동》이었다. 평양에 머무는 동안에도 그는《조선미술전람회》 19회부터 22회까지 연속으로 입선하였고, 《반도총후미술전람회》와 《결전총력미술전》에 각각 입선과 수상을 하면서 전시 상황 속서도 공모전에 출품하며 활동하는 꾸준함을 보였다.