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양선하(梁善河) 한국미술연구소 2009 美術史論壇 Vol.- No.29
Collaboration is a type of method of creation in Asian art. In the collaborated works of paintings and calligraphy more than two participants should take part in painting or calligraphy with prior information about the joint performance. The participating artists should have equal authority in the creation process. In the Modern Period, the collaborated works of paintings and calligraphy were frequently produced by some of the best painters. Some of the previous studies offered fragmented information about companionship that was revealed in the collaboration. In this study, through research on the sociocultural aspects of this type of art, the author considered the significance of the collaborated works as art pieces which reflect the social paradigm of an era. The main purpose of this research is to understand the inheritance of the Elegant Gathering culture, the changes in the method of the creation of art in traditional painting and calligraphy circle, and the intention and formative characteristics of the collaborated works of paintings and calligraphy, especially focusing on the period from the 1890s to 1950s in Korea. The participants of the collaboration made efforts to succeed the tradition of the Elegant Gathering culture of the Middle Age. At the same time, they were professional painters and calligraphers from the Modern Age perspective. With that reason, the collaborated works of the paintings and calligraphy depended on attendance at the collaboration ceremony. However, later on, the attendance itself did not influence much the production of the collaborated works. The collaborated works of the paintings and calligraphy are meaningful in the sense that the transformation of painting and calligraphy in the Modern period was reflected in them.
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이성례(李聖禮),양선하(梁善河) 한국미술연구소 2009 美術史論壇 Vol.- No.29
Throughout the life of Chun Kyungja (1924~ ), an artist who has cultivated a unique style of painting under such themes as flowers, women and snakes, artistic pursuit has come into contact with travel. However, it is little known that she participated in war correspondents during the Vietnam War. Korea’s entry into Vietnam War saw the first overseas dispatch of troops by the Korean Military, a commitment which lasted for eight and a half years from September 1964 to March 1973. The general atmosphere of the world at that time was solving the Vietnam War peacefully, but the Korean government forced the dispatch of its troops, emphasizing the great cause of ‘anticommunism’ and its responsibilities and duties as one of the members of the free world. This is closely connected with the experience of the Korean War, which was both a civil war and an ideological war, as well as with the circumstances of the times, when Korea was under the control of a military dictatorship. The war correspondents of the Vietnam War were organized to depict the activities of the Korean army in Vietnam and to commemorate their achievements. They visited battlefields, military camps, field hospitals, and such like from June 14th to July 2nd 1972, produced works upon their return to Korea, and held a ‘Pictorial Record of the Vietnam War’ exhibition at the National Museum of Contemporary Art, Korea, from Dec. 8th to Dec. 22nd of the same year. Twenty-one pieces of work were displayed at this exhibition, which was held seven years after the first dispatch of the Korean army to Vietnam, but most of them reflected neither the essence of war nor the unique personal style of the painters. However, the pictures of Chun Kyungja followed a somewhat different aspect. She painted ‘Aim’, and ‘Flower, soldier and the sound of firing’. ‘Aim’ depicts a scene from an ambush operation in which a group of soldiers armed with M-16 rifles watch the movements of enemy troops hidden in the tropical rain forest. The painting contains such elements as butterflies, lizards, flowers and fruits of various sizes, revealing the exotic atmosphere of a tropical region. Adding decoration to the painting, they make strong colors and elate fantastic atmosphere. ‘Flower, soldier and the sound of firing’ shows a company of the Maengho(Tiger Division) searching a village in Songkau. The painting uniquely produces rich, colorful effects. Although Chun Kyungja personally observed and witnessed the war, her pictures do not really reveal the misery of war. Rather, the sensitivity of the artist as a traveler is found after her overseas trip before and after working in the war correspondents. It may also be said that the fantasy element which penetrates the art of Chun Kyungja is reflected in her pictures of the war, which means that she looked at the war as a unique experience which stimulated her sensitivity rather than approaching it as a matter of life and death or as an issue of political ideology.
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