心田 安中植 繪畵 硏究

다국어 초록 (Multilingual Abstract)

An Jung-sik was considered the best painter of his period. He lived the time of transition between the end of Cho-s　 n(朝鮮) dynasty and the beginning of the Japanese colonial period.

Most of his paintings had been produced for the last ten years of his life which was from 1909 to 1919. And we can not find his early paintings especially before the year 1894 at the age of thirty-three. Therefore we can not help inferring the early style of his paintings from those remains produced in the latter part of his life.

There is only a little document about his early life before the year 1881 at the age of twenty when he went to China as an official draftsman in order to learn how to make modern western weapons.

Therefore we can not know who taught him to paint and how he started his career as a painter in his youth. We can assume two reasons why we do not have enough documents about his life as a painter despite he was the best painter in his period.

First one is that the preferential treatment of scholar painter had prevailed throughout the whole Chos　n dynasty. An Jung-sik was not a scholar painter but a professional one. The other is that An Jung-sik did not develop a new style of Korean modern painting despite he lived in the modern period. So he was a little bit ignored from the point of view of Korean modern art history.

The period of An Jung-sik's paintings was divided into two parts, the first half, from 1894 to 1913 and the second half, from 1913 to 1919.

In the first half period he was significantly influenced by An K　n-y　ng(安健 榮, 1841-1876), Chang S　 ng-　 p(張承業, 1843-1897) and by Hua-pu(畵譜) printed in Shanghai at that time. Some of his paintings are just the same in composition and shape as those Hua-pu.

In the second half period he developed his own unique style in landscape painting. Firstly depicting mountains, he used repeatedly many sharply angled lines in each shape of mountain. Secondly, we can see his characteristic trees with bare roots revealed out from the surface of the ground. Lastly, we can see a group of leaves of the pine tree which looks like a cluster of the chestnut burr in his own painting style.

In addition, he painted many ‘Ch　 ng-nok San-su(靑綠山水)’ or the landscapes colored with strong blue-green. In those blue-green landscape paintings we can find more flavor of his later characteristic painting style.

Besides the landscape painting, An Jung-sik produced almost all kinds of paintings such as figure painting, flower-and-bird painting and Kimy　ng-ch　 lji(器皿折枝). But he did not produce Sakunja(四君子) or the painting of the four gracious plants(i.e. plum, orchid, chrysanthemum and bamboo). That tells us he was not a scholar painter but a professional painter.

In the year of 1902, An Jung-sik painted the portraits of the King Ko-jong (高宗) and Sun-jong(純宗). So he was awarded the position of the county headman. He had served for 5 years as the country headman and finally quit the official job in 1907. Thereafter he devoted the rest of his life to producing the paintings without having any other job.

The tendency of his paintings was traditional as a whole. so the themes of An Jung-sik's paintings were generally related to the story in the chinese ancient literature and folklore.

However we can find some of his paintings that has somewhat modern flavor. For example, he painted the landscapes of actual view such as Pae-ak-chun-hyo(白岳春曉), Che-hwa-j　 ng-do(棣花亭圖) and My　 ng-ky　 ng-dae-do(明鏡臺圖). In his paintings Kimy　ng-ch　lji(器皿折枝) he painted them realistically using the chiaroscuro or the method of shading.

An Jung-sik's contribution to Korean art world lies not in forming the modern Korean painting but in educating students to be the first generation of the modern Korean painters.

In 1911 An Jung-sik became the professor of S　hwa-misul hoe(書畵美術會) which was the first modern art school to educate the national young painters who played an important role in forming the Korean modern painting later.

In 1918 the major artists over the nation founded S　-hwa-hyop-hoe(書畵協 會) or the organization of national artists. An Jung-sik was elected as the first president of the organization. It contributed a lot to the development of the Korean national art world in rivalry with the Cho-s　 n Fine Art Exhibition(朝鮮美術展覽會), shortly S　n-j　n(鮮展) which was organized as a part of colonial appeasement policies by Japan.

Despite An Jung-sik is an important painter in Korean modern art history, there has not been enough research on him. This thesis will contribute to understanding the exact situation of the transitional period from the traditional painting to the modern one in Korean art history.