한국미술사의 새로운 모색

송희경,김주연,진보라,이윤희 이화여자대학교 한국문화연구원 2006 한국문화연구 Vol.11 No.-

대학박물관의 전시활동과 학예연구원의 역할 - 이화여자대학교 박물관을 중심으로 -

송희경 한국대학박물관협회 2007 한국대학박물관협회 학술대회 Vol.56 No.-

18세기 전반 회화의 새 경향 : 정선(鄭敾) 고사인물화(故事人物畵)의 유형과 그 표상

송희경 이화여자대학교 한국문화연구원 2009 한국문화연구 Vol.17 No.-

18세기 전반에 활약한 겸재 정선은 조선후기 회화의 새로운 흐름을 주도한 거장이었다. 그는 고전을 형식적으로 모방하던 기존의 정형산수화를 뛰어 넘어 진경산수화의 창시자로 평가받는 것 못지않게 참신한 고사인물화 역시 많이 제작하였다. 실존했던 역사적 인물을 화폭에 환생시키기도 하고, 존경하고 좋아했던 고사적 소재를 보편화하여 자신의 산수화에 이입하기도 하였다. 또한 문학작품의 내용을 도해하면서 그 의미전달의 정확함을 위하여 고사를 재현하기도 하고 추상개념을 시각적으로 형상화하여 작품을 완성하기도 하였다. 나아가 과거의 고사(멕却)를 현실에 이입하거나 동시대인으로 번안하여 조선의 산천에 포함하기도 하였고 이러한 고사적 해석을 바탕으로 아회도를 제작하기도 하였다. 이 과정에서 그는 조선 초중기 고사인물화의 화면 구성과 구도를 계승하되 17세기부터 유입된 판화류를 적극적으로 수용하여 화제에 따른 적절한 유형의 인물상을 선택하였다. 특히 개자원화전은 그의 고사표현에 영향을 미쳤으며, 유형화된 점경인물상은 정형산수화에도 일부 삽입되어 보편화된 고사 이미지를 확산하는데 기여하였다. 고전적 이상형인 고사(멕却)를 실물적 이상경인 진경 안에 이입하여 탈속은일의 정신을 익히며 실천하는 은자의 모습을 연출한 것이다. 이렇듯 정선은 고사인물화에서 고사를 중국에 생존했던 ‘성현(聖賢)’이나 ‘고사(高士)’로 인식하여 이들을 ‘사고인(師古人)’하고 ‘사조화(師造化)’하려 하였다. 전통의 계승과 신화법의 수용을 추구하는 정선의 작업태도는 18세기 후반에도 영향을 미치며 19세기에도 지속된다. Through his many accomplishments in the early 18th century, Gyeomjae Jeong Seon(謙齋 鄭敾(1676~1759)) is known as a luminary who led a new genre of painting during the late Joseon dynasty. It is noteworthy that Jeong painted ‘figurative paintings about the ancient stories’(故事人物畵), except becoming famous for establishing the beginnings of real shan shui painting(眞景山水畵), moving beyond the rules of the previous era that had limited painters to depictions of idealised scenery. He brought each of the historical figures back to life on canvas, and incorporated relatively unfamiliar subjects about the gosa(멕却, hermit-like old gentlemen of integrity) into his paintings, there by making his respectful and favorite items generally known to the world. In addition, his interpretations of literary works helped him depict the gosa figuratively, thus assuring the clarification of messages and embodiment of abstract concepts. Further more, he incorporated the subjects into Joseon scenery, transforming the figures of the past into the present tense as contemporaries, and created AhHeoDo(雅會圖). From the early and middle gosa portraits in the Joseon era, he drew upon traditions of how to compose subjects and structure each element on canvas. Jeong chose pertinent types of figures accordingly under each theme, absorbing the characteristics of print which had been introduced since the 17th century. The Mustard Seed Garden Manual of Painting(『芥子園畵傳』) was particularly influential on him in regards to the expressions of gosa painting, and it is note worthy that the styles of JeomKyeong figures, which literally mean, “an image of landscapes dotted with human figures” were partly inserted into formalized shansui painting, there by contributing tot he popularization of gosa imagery. As a classical ideal man painted in actual scenery, the gosa created a scene of hermit dedicated to spiritual learning by pursuing freedom from social conventions. As such, Jeong attempted to pay respect to gosas as his mentors(師古人),, and to be in harmony with their spirit(師造化), by recognizing them as real saints or respected gentlemen through his gosa portraits. Jeong, with his cease less efforts to pass on traditional techniques, and accept new ones from NamJongHwa(南宗畵), continued his study during the late 18th century and finally created more stylized painting in the 19th century.

서화가 황씨 사형제의 작품세계

송희경 동양고전학회 2008 東洋古典硏究 Vol.33 No.-

우석 황종하(友石, 仁王山人 黃宗河 1887-1952), 우청 황성하(又淸, 黃成河, 1891-1965), 국인 황경하(菊人, 黃敬河, 1895-?), 미산 황용하(美山 黃庸河, 1899-?)는 네 살 터울의 형제들이며 모두 서화가로 이름을 남겼던 인물들이다. 이들은 특별한 교육기관에 몸담지 않고 중국에서 유입된 화보나 선배 대가들의 작품을 보며 독학으로 그림 공부를 하였지만 각자 선호하는 기법과 잘 그리는 소재가 달랐다. 즉 황종하는 호랑이 그림을, 황성하는 지두화를, 황경하는 인삼도를, 황용하는 사군자화를 잘 그린 것이다. 각종 전람회나 전시회에 참여하는 태도에는 차이가 있었지만, 그들은 사형제전을 함께 개최하거나 합작도를 자주 제작하면서 형제간의 우의를 쌓아 나갔다. 특히 1922년에 그들의 고향인 개성에서 창립한 ≪송도서화연구회≫는 후배를 양성하는 교육기관이자 스스로의 작품을 소개할 수 있는 문화의 장으로 그 역할을 다하였다. 이렇듯 황씨 사형제는 서로의 생각과 취미를 공유할 수 있었던 친구들이였고, 동시에 각자 개성 있는 작품세계를 펼쳤던 예술가였다. 그리고 구한말에 태어나 역사의 격변시기를 경험하면서도 전통 한국화의 맥을 지켜왔고, 타계할 때까지 평생 지필묵을 고집하면서 글을 짓고 그림을 그리며 화제를 썼던 작가들이었다. Woo-Suk Hwang Jong-Ha(友石, 黃宗河 1887-1952), Woo-Chung Hwang Sung-Ha (又淸, 黃成河, 1891-1965), Gook-In Hwang Kyung-Ha (菊人, 黃敬河, 1895-?) and Mi-San Hwang Yong-Ha(美山 黃庸河, 1899-?) were not only renowned writers and painters but also brothers spaced four years apart The Hwang brothers were not specially trained by educational institutions, but studied on their own, relying on picture books from China and the artpieces of masters. Even though brothers each born only four years from the next, they preferred different techniques, and the subjects they were proficient at drawing were all different to some extent: Tiger Painting by Hwang Jong-Ha, Finger Painting by Hwang Sung-Ha, Ginseng Painting by Hwang Kyung-Ha and Painting of Four Gracious Plants (plum, orchid, chrysanthemum, bamboo) by Hwang Yong-Ha are an example of this. They also showed differences in their manner of holding various exhibitions. They did, however, forge strong familial ties by holding the Exhibition by Four Brothers or by producing joint paintings. In particular, they established an art school called the Song-Do Society for the Research of Writings and Paintings in Gaesung, North Korea as a means to nurture young artists and to offer opportunities to introduce their own artwork. They were both friends and artists, as they spent their childhood together and share their thoughts and hobbies as well as their own individual and unique works of art. Moreover, they went the through ups and downs of Korean history from the end of the Joseon Dynasty through the Japanese occupation however, they strove to keep the tradition of Korean paintings alive, and even persevered in writing and drawing countless artwork with paper, brush and Chinese ink until the day they each died.

오당 안동숙(吾堂 安東淑, 1922-2016)의 1960-1970년대 ‘추상’

송희경 한국미술연구소 2022 美術史論壇 Vol.- No.54

Odang Ahn Dong Sook is a painter who has experienced variously in private school and regular art college education, Joseon Art Exhibition and National Art Exhibition of The Republic of Korea, ink and coloring, figuration and abstraction, paper brush ink and other physical properties. During the Japanese colonial period, as a Kim Eun-ho's student, he mainly painted colored flowers and birds, and after liberation, he steadily published ink-and-wash paintings using glue. In particular, during the Mukrimhoe period, he presented geometric abstractions based on smears and stains. Since the mid-1960s, he tried to experiment with the physical properties of the abstract, and devised a method of superimposing monotyping using oil-based pigments and water-based medium and delicate brush strokes. By mixing press and painting, he completed an abstract painting that competes with subtle colors and textures. The experiment on material properties and materials started by Ahn Dong Sook opened a new paradigm for the oriental painting at the time.In this way, Ahn Dong Sook, who devoted his life to exploring new ways of speaking and formativeness, established his own abstract domain among the oriental painters of the 1960s and 1970s. He emphasized that there is no need to separate figurative and abstraction, and demonstrated the validity of the term 'painting'. 오당 안동숙은 사숙과 미술대학. 조선미전과 국전, 수묵과 채색, 구상과 추상, 지필묵과 여타 물성 등을 모두 경험한 화가이다. 김은호의 문하생이었던 일제강점기에는 채색의 화조 영모화를 주로 그렸고, 해방 이후에는 아교를 활용한 수묵 담채화를 꾸준히 발표하였다. 특히 묵림회 시절에는 번짐과 얼룩을 토대로 한 기하 추상을 선보였다. 1960년대 중반부터 유성 안료와 수성 미디엄을 활용한 모노타이핑과, 섬세한 붓질을 중첩하는 육리법을 고안하였다. 프레스와 페인팅을 혼용하여 은은한 색상과 질감으로승부하는 추상 회화를 완성한 것이다. 안동숙의 물성 실험은 1950년대 중반 현대성 명제와 맞물린 동양화단의 추상이 한 단계 도약하는 계기를 마련하였다. 안동숙이 포문을 연 물성과 재질 실험이 당시 동양화단에 새로운 패러다임을 연 것이다. 또한 안동숙은 1960-70년대 동양화단에서 독자적인 추상 영역을 확고하면서 구상과 추상의분리가 필요 없음을 역설하고 ‘회화’라는 용어의 타당성을 피력하였다.

공자 고사의 시각화 - 기기도(欹器圖) 연구

송희경 동양고전학회 2016 東洋古典硏究 Vol.0 No.62

춘추전국시대에 활동한 공자는 수많은 어록을 남기면서 제자를 양성한 교육자이며 한중일 지식인의 존경을 받아 온 대표적인 성현이다. 공자의 행적 및 제자와 경험한 재미있는 에피소드는 그림과 조각 등으로 다양하게 시각화되었다. 특히 공자와 그의 제자 자로가 노나라 환공의 묘에서 기기(欹器)를 발견하고 중용의 원리를 터득하여 ‘좌우명(座右銘)’으로 삼았다는 일화는 조선 왕실을 비롯한 문인들에게 꾸준히 사랑을 받으며 그림으로 표현되었다. 이 일화를 담은 기기도는 그릇만 표현한 정물화와, 공자가 기기를 관찰하는 사건을 그린 인물화로 분류된다. 전자는 백성을 공평하게 다스리고 행동거지를 바로하기 위한 중용의 척도로, 후자는 공자의 일생을 표현한 성적도에 포함되어 교육용 시각물로 활용되었다. 그러나 공자가 기기를 관찰하는 장면은 단독 장르로 독립하거나 인물화 병풍에 수록되었다. 공자의 다른 일화가 도(道)의 계보를 시각화 한 화첩에 포함된 반면, 공자가 기기를 관찰하는 장면은 풍류와 서화 골동 감상을 즐기는 문인들을 그려 모은 병풍에 포함된 것이다. 이렇듯 기기도는 공자의 일화를 그린 인물화의 기능과 상징성을 여러 각도로 알려주는 그림이라 할 수 있다. 기기도의 형식을 분류하고, 시대와 목적에 따라 변화하는 조형성을 분석하여 공자의 일화를 그린 그림들의 다양한 면모를 규명하고자 하는 이 글을 통해 옛 성현의 이야기를 재현하는 방법과 감상 코드에 따른 표현상의 차이가 파악될 것이다. Confucius, whose life coincided with the Warring States period of China, is one of the most respected sages in world history whose teachings and life produced countless disciples in China, Korea, and Japan. There are innumerable pictures, sculptures, and other artworks that portray memorable deeds of Confucius and interesting anecdotes that involve his pupils. One of the most popular subjects for these Confucian portrayals is the anecdote in which Confucius and his pupil, Zhi Ru, discover a tilting vessel at an ancestral shrine in the Lu dynasty and use it to understand the doctrine of the mean. The vessel becomes the basis for the famous Chinese expression, “the cautionary vessel beside one’s seat,” which is nowadays used to denote one’s motto for life. Portraits of these tilting vessels can be divided between those showing the vessels only and others that show Confucius observing the vessels. The former serve as visual reminders, for rulers and policy makers, of the doctrine of the mean that is necessary to fair and righteous governance. The latter form part of the pictorial biography of Confucius with educational content and messages. Interestingly, portraits of Confucius observing or studying tilting vessels have been famous among members of the royal court and the literati, circulated either as single artworks or included in the folding screens of human portraits. Portrayals of other Confucian anecdotes are mostly found in albums that visualize the genealogy of the Way; in contrast, the portraits of Confucius and the tilting vessels were included in folding screens that were popular among the literati that enjoyed stylish works of art and antiques. The portraits of tilting vessels thus highlight the diverse functions and symbolic value of human portraits. This study classifies the portraits of tilting vessels into various forms, and analyzes the period-and objective-dependent changes and characteristics in these portraits. With its exploration of the diverse functions and aspects of portraits of Confucian anecdotes, this study will shed new light on how ancient artists reanimated the lives of great sages and how these artworks differ in their expressions and styles.

운양 김윤식의 서화 감상과 미술 활동

송희경 열상고전연구회 2014 열상고전연구 Vol.42 No.-

이 글은 구한말 온건개화파의 중심인물인 운양 김윤식의 문집인 운양집에 실린 서화 관련 자료를 토대로 그의 미술활동 및 예술관을 분석했다. 김윤식은 중국, 조선 의 고서화와 동시대 일본화의 제화시를 남기고 각종 서화단체에 고문으로 추대되거 나 직접 휘호회를 주관하는 등 미술활동에 적극 참여한 일제강점기 고위 관료이다. 김윤식의 미술활동은 온건개화, 동도서기로 압축되는 그의 사상이 내재되어 있다. 예컨대 조선의 과거를 모방한 시문서화의과대회를 개최하거나 서화미술회 개회식을 전통 아회 형식으로 진행했다. 그러나 김윤식은 당대의 신미술도 적극 수용하여 일본 인 여성작가 작품의 제화시를 썼고, 김관호의 서양화에도 거부감이 없었으며, 외국인 여성 화가의 초상화 제작 요청에도 적극 응했다. 무엇보다도 1910년대 미술연구기관 의 설립과 물질적 후원은 근대기 미술 교육제도를 정착시키는데 원동력이 되었다. 따라서 김윤식의 운양집에 수록된 서화관련 자료는 단순한 서화 감상문이 아닌, 혼란과 격변의 시간을 거친 지식인의 예술적 행보이자, 고전 문학과 역사에 해박한 고위관료의 문화 체험이다. 이 자료를 통해 고위 관료의 예술관, 구한말의 서화 유통 과정, 한 일 간의 회화교류가 자세히 규명되기 때문이다. This essay discusses the artistic activities and the aesthetics of “Unyang” Kim Yun-shik, who was a high-ranking official in the Korean government in the last years of the Joseon Empire. Having studied and mastered the characteristics of drawings and paintings of all genres and eras in China, Korea, and Japan, Kim left his critical remarks in poems and proses. The art works he critiqued can be mainly divided between the older art works dating back to periods prior to the 20thcentury, and the contemporary art works that were created during Japanese occupation. Kim’s remarks regarding the for mere vince a certain kind of pride in takes in being an heir to the learned culture and tradition of Joseon. Kim’s remarks regarding the latter reflect the intellectual's growing interest in the modern civilization and his role in the cultural diplomacy between Korea and Japan Kim was favored as an advisor on a number of organizations of artists, and also actively served as a father figure in the art community in Korea, organizing exhibitions of paintings himself. Kim's critical works and aesthetics show both a conservative attachment to tradition and an open and active embrace of new contemporary artistic trends. Most importantly, the support he provided for the foundation of artistic research institutions in the first two decades of the 20thcentury paved grounds for modern art education in Korea. The poems and proses Kim wrote upon encountering and appreciating artworks are therefore not mere reviews, but embody the unique perspective of a learned man with strong backgrounds in the classics and history and undergoing an unprecedentedly tumultuous time.

우청 황성하(又淸 黃成河)의 회화 연구

송희경 미술사학연구회 2008 美術史學報 Vol.- No.31

Woo Cheong(又淸) Hwang Seong-ha(黃成河, 1891-1965), as a figure who tenaciously worked in traditional Korean painting, lived during the most turbulent time period in history, as he was born at the end of the Joseon Dynasty. Until the mid-1960s when he died, Hwang worked vehemently on writing prose, painting, and creating poetic lyrics in harmony with paintings and thus became well-known as one of the most illustrious artists who persistently held on to the legacy of traditional Korean painting. Nevertheless, the needed research and analysis concerning Hwang’s life or his art world is currently insufficient. When taking a look at the overall work done by Hwang, he rarely used strong coloring or extremely narrow brushes except when he illustrated tigers. In which case, he used mostly light coloring with ink (水墨淡彩), especially with fully ink-wet brushes for undaunted touches (潤筆) as opposed tobrushes made of bristly hair(渴筆) in order to create subtle differences in shade. This characteristic is often seen in the 50 year period of his art making and confirmed in his Jidu-Hwa painting (指頭畵, a painting created by the tip of fingers instead of brushes). In his painting of mountains and rivers, there is not much Bubyeok-Jun (斧劈皴 strong brush strokes that make the surface of a mountain or rocks have anax-cut texture) and instead a lot more of Mijeom-Jun (米點皴, making dots with brushes slanted) and Pima-Jun (披麻皴 depicting thread-like scenes as in a hemp plant) are seen. Most of them were thoroughly based on the existing strict rules of Oriental painting, except for a few of the depictions of true landscapes. Hwang introduced to his painting both Mibeop-Sansu (米法山水, a technique used when drawing branches of a tree or the overall shape of a mountain, by spreading ink and overlaying ink dots instead of making a clear outline) or Ni Tsan (倪瓚式, a technique with an archaic and serene touch due to its brief composition and depiction). In the case of figurative painting, Hwang used Yuyeop-Jun (柳葉皴 thick brush strokes like willow leaves) or Jeongduseomi-Myo (釘頭鼠尾描, brush strokes that begin strongly like nail heads and become narrow like rat tails) for GoSa-Hwa (portraying old gentlemen), while using Jeolro-Myo (brush strokes used for depicting drapes of cloth that appearquite sharp like broken reeds) for Doseok-Hwa (道釋畫 portraying old monks and gods, including Buddha). Therefore, it can be seen that he used different kinds of rendering methods depending on the category of painting. When painting Youngmo-Hwa (翎毛畫, paintings of birds or beasts) for subjects such as Korean shaggy dogs or tigers, Hwang mainly used his fingers and the subjects’ full-faces or profiles seemingly reveal a type of dignity and authority. The Four Gracious Plants (四君子) were completed mostly with thin coloring using ink and a lot of them were produced through the club activity called Geumranmukhui. As a literary man who wrote traveling verses, Hwang is regarded an artist with remarkably versatile talents in all-encompassing realms such as paintings of mountains and rivers, figures, birds and beasts, flowering plants, The Four Gracious Plants, and calligraphy. While living in the confusing environment influenced bydifferent styles at the end of Joseon Dynasty in the city of GaeSeong, his hometown, Hwang made every effort to pass the legacy of traditional Korean painting on to the next generation through his life-long determination. More specifically, he took the lessons of senior painters to heart based on Namjonghwa-Beop (南宗畫 and took this as the background for creating his own painting style. Therefore, Hwang hopefully will remain as a calligraphic painter who kept a sense of pride in traditional Korean painting even in the rapidly changing era when new Western styles and different ideologies caused many problems in the society.

풍곡(豊谷) 성재휴[成在烋, 1915-1996]의 동양화 - 일제강점기부터 1960년대까지의 행적과 작품을 중심으로

송희경 사단법인 한국문학과예술연구소 2023 한국문학과 예술 Vol.45 No.-

Poonggok Sung Jae-hyu(成在烋, 1915-1996) was a disciple of Seokjae Seo Byeong-oh(徐丙五, 1862-1936) and Uijae Heo Baek-ryeon(許百鍊, 1891-1977) during the Japanese colonial period. He entered the art world by learning traditional calligraphy and painting, such as the Four Gracious Plants and Landscape Painting. Since the liberation, he has presented mountain and water landscape paintings that distort or simplify natural shapes in domestic and international exhibitions. It is an attempt at ‘semi-abstract’ that Lee Ungno (李應魯, 1904-1989) sought. In the 1960s, he explored the modernity of oriental painting by presenting portraits that combined oriental calligraphy and Western abstract art. Furthermore, he used a technique called ‘gampil(減筆)’ that captures the characteristics of the subject with minimal brushwork while conveying rich emotions and speed, not just the jungbong(中鋒) of calligraphy. The main characteristics of Sung Jae-Hyu's paintings after liberation are the use of quick strokes with different shades, the use of tints, and the acceptance of semi-abstraction located on the border between figurative and abstract. After the 1970s, Sung Jae-Hyu's paintings changed very decoratively. The outline of the ink painting has become thicker, the proportion of coloring has increased, and the empty space has been minimized by filling the scene. 풍곡(豊谷) 성재휴(成在烋, 1915-1996)는 일제강점기 석재(石齋) 서병오(徐丙五, 1862-1936)와 의재(毅齋) 허백련(許百鍊, 1891-1977)의 문하에서 사군자, 산수화 등 전통 서화를 익히며 화단에 입문하였다. 해방 이후에는 국내외 전시에서 자연 형상을 왜곡하거나 간략화 한 산수풍경화를 발표하였다. 이응노(李應魯, 1904-1989)가 모색한 ‘반추상성’을 시도한 것이다. 1960년대에는 동양 서예와 서구 추상미술의 양식이 결합된 인물화를 선보이며 동양화의 현대성을 모색하였다. 나아가 서예의 중봉뿐만 아니라 최소한의 붓질로 대상의 특징을 포착하되 풍부한 감정과 속도를 실은 감필(減筆)을 구사하였다. 농담을 달리한 속필의 구사, 담채의 활용, 구상과 추상의 경계에 위치한 반추상의 수용이 해방 이후 성재휴 회화의 주요 특징이다. 1970년대 이후 성재휴의 회화는 매우 장식적으로 변화하였다. 수묵의 윤곽선이 더욱 두꺼워졌고, 채색의 비중이 커졌으며, 경물을 가득 채워 여백이 최소화된 것이다.

200년 만에 복원된 조선시대 서화 총합도록-유홍준·김채식 옮김, 『김광국(金光國)의 석농화원(石農畵苑)』, 눌와, 2015.-

송희경 이화여자대학교 한국문화연구원 2016 한국문화연구 Vol.31 No.-