1960년대 동양화의 해외 체험 -일본 전시의 참여와 그 출품작을 중심으로

송희경(Song, Hee-Kyung) 동서미술문화학회 2021 미술문화연구 Vol.20 No.20

본 논문은 1960년대 동양화의 해외 전시 참여와 출품작을 고찰하였다. 특히 일본에서 전시된 동양화를 집중 연구하였다. 여타 서구 국제미술제 출품작과 일본 출품작의 조형성을 비교하기 위함이다. 한국 미술의 해외 진출은 1950년대부터 적극 시도되었다. 특히 1960년대에는 파리 비엔날레, 상파울루 비엔날레를 비롯하여 동시대 작가의 국제 미술제 참여가 활성화되었다. 비엔날레의 출품작에는 주로 추상이 선정되었고, 서양화, 조각 분야에 비해 동양화 분야의 작품 수가 상대적으로 적었다. 동양화 출품작도 대부분 수묵의 흘림, 번짐 효과를 드러내거나, 한지가 아닌 여타 물성을 활용한 추상 회화였다. 국제 미술제에서 장르를 불문하고 추상이 선택되자 동양화 분야도 이에 보조를 맞추기 위해 새로운 추상성 모색에 고심한 것이다. 1965년 한일 수교가 체결되자 양국의 문화교류가 본격적으로 전개되었다. 이에 국내 미술인들도 일본을 방문하여 동시대 미술을 발표하였다. 일본 국제 미술제에서도 주로 수묵의 물성과 추상성을 탐색하는 동양화가 출품되었다. 그러나 일본 전시에서는 한지의 특성이나 한국적 채색을 모색하는 작품이 호평을 받았다. 예컨대 한지 바탕의 질감을 응용한 권영우의 물성 실험은 훗날 ≪다섯 가지 흰색≫에서도 소개되었다. 천경자나 박노수의 채색화는 한국의 "민족성"과 "국토애"를 담아냈다는 평가를 받으나, 여전히 일본 채색화의 연장선에서 이를 해석하려는 입장도 발견되었다. 이렇듯 본 논문은 동양화 작가들이 현대성 담론을 수용하고 이에 맞는 조형성을 고안하여 동시대 미술계에서 주변이 아닌 중심으로 인정받기 위한 노력도 고찰하였다. 이것이 본 논문의 연구 의의라고 생각된다. This paper examines the participation and exhibition of Oriental paintings in overseas exhibitions in the 1960s. In particular, the paper intensively studies the Oriental paintings exhibited in Japan. This is to compare the formativeness of the works exhibited at other Western international art festivals to those exhibited in Japan. The overseas expansion of Korean art was actively tried since the 1950s. In particular, the 1960s witnessed a wide activation of contemporary artists" participation in international art festivals, including the Paris Biennale and the Sao Paulo Biennale. Abstract was mainly selected as the entries for the Biennales, and the Oriental painting world offered a relatively small number of works compared to Western painting and sculpture. Most of the Oriental painting exhibits were abstract paintings that revealed the effects of ink spillage and smearing or the ones that utilized physical properties other than Korean traditional paper(Hanji). As abstraction was popularly selected at international art festivals by Korean artists regardless of genre, the field of Oriental painting strove to find a means to keep pace with such international trends. After the establishment of diplomatic ties between Korea and Japan in 1965, cultural exchanges between the two countries developed in earnest. Accordingly, Korean artists also visited Japan to present contemporary art. Oriental painting, mainly exploring the materiality and abstraction of ink, were exhibited at the Japan International Art Festival. Also, there were works that experimented with the physical properties of Korean traditional paper or explored Korean-style colors. Kwon Young-Woo"s experiments on physical properties applying the texture of Korean traditional paper were later introduced in the 〈Five Whites〉 exhibition. Chun Kyung-ja and Pak No-soo"s colorful paintings were regarded as representing Korean nationality and territorial attachment. However, there was still a stance to interpret this group of works as an extension of Japanese color painting. As such, this paper examines the perspective of Oriental paintings that entered overseas in the 1960s. In addition, this study examines the efforts of Oriental painting artists to be recognized as the center (and not the other) of the contemporary art world by embracing the discourse of modernity and devising a formative form that suits such discourse of modernity. This is regarded to be the significance of the study of this paper.

20세기 전반 한국의 문인화

송희경(Song, Hee-kyung) 숭실대학교 한국문학과예술연구소 2018 한국문학과 예술 Vol.27 No.-

이 글은 김영기의 문인화론과 작품 세계를 고찰하여 1950년대까지 전개된 한국의 문인화론과 문인화의 한 단면을 규명했다. 김영기는 20세기 동양화단에서 지필묵을 호명하는 여러 개념들 즉, 문인화, 신문인화, 한국화를 본격적으로 사용하며 그 정의와 범주를 규정했고, 이 용어들을 그림으로 조형화하려고 노력했다. 어린 시절 부친 김규진의 영향으로 붓을 잡았으며 중국유학을 거쳐 여러 미술 활동을 전개하면서 자신이 언급한 문인화와 신문인화를 화폭에 실현한 것이다. 그의 이론적 전개나 화법, 소재의 선택은 시대에 따라 변화했다. 그러나 사물을 직접 보고 관찰한 뒤 작업하려는 태도와 지필묵의 기본 기법에 대한 천착은 변함이 없었다. 김영기가 언급한 용어들을 다시 정리하면, 남종화는 산수가 주를 이룬 그림, 문인화는 시서화가 공존하고 묘사가 간략하며 사군자류와 화훼류를 그린 그림, 신문인화는 시문제찬이 사라지고 사의성을 간직한 채 서구 양식이 도입되었고, 사군자, 화훼뿐만 아니라 실경까지 포함된 채색의 그림이다. 김영기의 회화 이론과 작품은 20세기 전반 한국의 문인화론을 이해하는 데 가장 중요한 척도이다. 그의 문인화론과 창작 방식이 근대기의 시대성을 토대로 진화된 동양화의 굴곡진 여정을 확인시켜 주기 때문이다. 이렇게 볼 때 동양화단의 변화를 이끈 김영기의 화론과 그림은 정체성 논란에 휩싸인 동시대 한국화의 당면 과제를 해결하기 위한 여러 실마리를 제공할 것으로 판단된다. 김영기의 회화이론과 작품세계에 주목해야 하는 이유이다. This article focuses on Ki3m Young-ki`s theory of painting and his works in order to consider one aspect of Korean literary paintings developed until the 1950`s. Kim used the concepts of Mooninhwa(Literary Painting), Shinmooninhwa(New Literary Painting) and Hangukhwa(Korean painting) in the 20th Century traditional arts to define their conceptions and categories, and tried to understand new forms in order to visualize this concept. When Kim`s words are summarized again, Namjonghwa is a landscape painting, Mooninhwa is a painting which describe Four Gentleman and a flower with simple stroke, Shinmooninhwa is a flower and landscape painting, with poetry omitted, western style being introduced. Kim`s painting theory and works are one of the most important measures to understand the literary theory of Korea in the first half of the 20th century. This is because it confirms the changing pattern of modern Korean painting. From this point of view, his painting theory and painting, which led to the transformation of Korean painting, provide various clues to solve the problem of Korean painting, which is surrounded by the identity controversy. That is the reason why I should pay attention to Kim`s painting theory and works in the future.

한국의 의례 문화; <대한제국 동가도(大韓帝國動駕圖)> 연구

송희경 ( Song Hee Kyung ) 온지학회 2014 온지논총 Vol.- No.38

<Donga Painting during Empire of Korea>, which is a collection at the Ewha Womans University Museum, is the court documentation painting of King Gojong`s ceremonial walk. It is a 17-meter long colored painting and completed with a complex structure. Figures in Donga Painting have rich facial expressions and gestures while part of Western painting skills is introduced in it. What differentiates Donga Painting from the rest of the court ceremony paintings is the “King`s appearance”. The ceremony walk in the Donga Painting represents a military parade between March 23, 1868 and July 2, 1868, when the Empire officially announced to re-establish the entire army. This documentation painting titled “Empire of Korea”, is suspected to have been completed between 1897 and 1930. There is no affirmation that it is drawn by Chae Yongshin because there is also a chance that it is a copy of Chae`s original work. <Donga Painting> is the documentation painting to represent the re-establishment of royal authority during King Gojong and remember his policies to strengthen military power.

『畵史會要』를 통해 본 18세기 한중일 회화 교류

송희경(Song Hee-kyung) 한국미술사학회 2015 美術史學硏究 Vol.- No.288

1980-90년대 한국화의 수묵추상

송희경 ( Hee Kyung Song ) 미술사와 시각문화학회 2014 미술사와 시각문화 Vol.13 No.-

Ink stick was the most important tool for expression in East Asian Paintings to show what intellectuals thought and how their daily lives were at that time, which had been expressed in a unique visual language as time passes by. It was a fixed material for the Real-Scenery Landscape Painting that had kept traditional painting techniques in the modern period. It was also used as a core material for ink painting based on the concept of Literary Painting. The mutual exchange and junction between ink painting and the idea of abstraction were found in Mukrimhoe that was established in the 1960s. The members of Mukrimhoe pursued nonobjective art that focused on Orientalism while they were blamed for being followers of western expressionism. For them, ink painting was just a tool for nonobjective art. They considered ink stick as an item for visualization regardless if it was used for a nonobjective art or not although being insisted that the Ink Painting Movement in 1980swas a succession to the Orientalism. It was during the late 1980s that abstract ink painting had been settled down. Painters engaged in abstract ink painting tried to synchronize their feelings with the use of ink stick and did not cling to the metanarratives of conventional Orientalism. They actively accepted the influential Korean abstract ink painting that came from western abstraction and even tried to show a new possibility beyond it in rich and expressive ways.

남계 이규선(南溪 李奎鮮, 1938~2014)의 회화

송희경 ( Song Hee-kyung ) 한양대학교 동아시아문화연구소 2021 동아시아 문화연구 Vol.84 No.-

Lee Gyu Sun(李奎鮮, 1938~2014), also known for his art name Namgye(南溪), was a painter who created his own distinctive style of abstract paintings in Korean painting. During his undergraduate degree in painting at Seoul National University College of Fine Arts, he first studied oil painting. He then studied both oriental and western paintings, submitting his works of oriental and western paintings to the relevant departments of the National Art Exhibition of The Republic of Korea. However, since the 19th National Art Exhibition in 1970, participating in the Nonrepresentalism Category of the Department of Oriental Painting only, he began to pursue abstractness in earnest. The entries during this period are known for the features like the geometric area division created by the intersection of straight lines, the use of thick coloring and whitewash, and the design of stains using the spray technique. As such, he stood out for abstract paintings in venue art, but for commercial paintings, he prolifically drew small-sized portraits of children. From the mid-and late 1970s, he added some primary colors to the black base screen and attempted to divide faces with a smooth curve. In the 1990s, he focused more on flat abstraction in black and white, showing a delicate difference derived from traces of black ink brush strokes. In the series of Sichang Cheonggong and Seochang Cheonggong, which began in the 2000s, he attempted an arrangement of the scenery between the opening windows made of Korean traditional paper. Hence, he attempted to express the feelings and inspirations that arise from objects or situations as images rather than focus on the concepts, theories, and narratives of traditional painting. By choosing abstraction in the sense of contemporary painting, ink and nature motifs in that of oriental painting, and primary colors in that of Korean painting, Lee Gyu Sun's unique signs of modernity, orientality, and Koreanness were created. This can be considered the characteristic of abstract painting by Gyu Sun Lee.

18세기 아회도의 조형성과 그 표상

송희경 ( Hee Kyung Song ) 우리한문학회 2012 漢文學報 Vol.26 No.-

``Ahoi``(or elegant assembly, 雅會) was an unofficial gathering of scholars who focused on poetic refinement, different from the grand official assemblies that were formulaic and commemorative. Thus, the ``ahoi`` was of spontaneous and elegant characteristic that embraced the conversations, poetry compositions, musical performances, board games, painting and calligraphy, tea brewing, and wine drinking activities of the assembly. Other gatherings called in different terms but conforming to the characteristics of ``ahoi`` are also examined as a part of the ``ahoi`` in this thesis. The term ``a(雅)`` in ``ahoi`` means ``simple, restrained, elegant, and refined``, and thus, the term soon became involved with the elegant literati gatherings. By enjoying refined tastes and elegant assemblies, the literati pursued the realization of ``a``(of ``ahoi``) and the means of this pursuit included musical performance, traditional game of ``baduk``, painting, and calligraphy(琴棋書畵). In order to follow the lifestyles of the lofty scholars, the literati copied the activities of ancient figures, and incorporated them into their own assemblies. Kim Hongdo(金弘道, 1745-1806 after) was perhaps one of the most prolific painters of ``ahoi-do`` painting. Kim not only participated in the assemblies held by the literati, but also partook in the gatherings of the newly risen class pursuing literati taste. He brought the icons of historic figures, and realized them on the painting, rendering a harmony of the past and the present. Thus, he adopted typical figures of the past, and incorporated them into the present background, producing a refined and elegant atmosphere. ``Ahoi`` assembly was a cultural by-product of the literati class. The literati who pursued such noble-mindedness and purity desired to form moral and harmonious relationship with others. And such relationships, they believed, could be perfected through ``elegant`` and ``non-secular`` activities and enjoyments. Thus, ``ahoi-do`` paintings presented pictorial creations of the literati who strived to realize the idyllic lifestyle of the virtuous man and the unworldly hermit.

조선시대 군주고사도 -제순고사도(帝舜故事圖)를 중심으로-

송희경 ( Hee Kyung Song ) 온지학회 2013 온지논총 Vol.- No.34

This essay explores the underdiscussed roles and functions of portraits and paintings of ancient and legendary figures drawn during the Joseon period, especially focusing on the materials and expressive styles used in the paintings of ancient monarchs. In particular, this essay discusses the visual characteristics and themes of paintings of Emperor Shun, a semimythical emperor of ancient China, widely revered for his good deeds. Included in this essay`s analysis are two paintings, namely, Sunjedaehyo (“The Great Filial Piety of Emperor Shun”) and Jesunnamhunjeontangeum(“Emperor Shun Plays the Zither at Namhunjeon”). Sunjedaehyo, a portrait of the ancient emperor as an exemplary and loving son, was included in Samganghaengshildo, written and published for the moral enlightenment of the Joseon public. Jesunnamhunjeontangeum, depicting Emperor Shun as a caring and dedicated king, was displayed in various places in the royal palace. In particular, the latter painting was also included in a collection of writings on ancient Confucian sages and scholars, including Emperor Yao, indicating Shun`s due place in the authentic pedigree of the Confucian tradition. The collection of writings also included Togyemojado (“Building a Staircase of Mud and Making a Rooftop of Straws”), KimHong-do`s take on a well-known episode of the legendary Emperor Yao`s life. While these paintings portrayed figures from Chinese history and mythology, the palace and the garden in the background were quite Korean in their style and influence. These paintings of ancient monarchs drawn during the Joseon period sought to express the diverse virtues of monarchs, such as their leadership, wisdom, and filial piety. They were used to urge good governance and facilitate the moral instruction and enlightenment of the public. The same stories of the same figure were drawn and painted quite differently, depending on the purposes and needs of the artist and the audience.

이응노의 『동양화의 감상과 기법』(1956) 연구

송희경(Song, Hee-Kyung) 동서미술문화학회 2020 미술문화연구 Vol.17 No.17

본 연구는 지금까지 단독 연구로 발표된 바 없는 이응노의 『동양화의 감상과 기법』을 분석했다. 『동양화의 감상과 기법』은 동양화가인 이응노가 저술한 중고등학생용 미술 교재다. 이 교재에는 동양화 재료의 사용법, 각 사물을 표현하는 방식, 우리나라 회화의 약사(略史) 등, 동양화의 기본 정보와 역대 동양화의 회화 이론 및 근대기 새롭게 논의된 창작의 방법이 기술되어 있다. 전체 그림의 일부분을 잘라 재구성한 도표는 『개자원화전』의 편집 방식을 연상시키며, ‘사생’을 주목한 점은 도쿄 유학 시절에 수학한 동양화 창작 방법에서 비롯된 것으로 보인다. 이응노는 일제강점기 세키노 다다시가 저술한 한국미술 통사인 『조선미술사』의 영향을 많이 받았다. 이응노는 이 교재에서 ‘사생’이라는 용어를 적극 사용했다. 그리고 당시 동양화단에서 주요 화두로 논의된 현대성의 대안으로 ‘반추상’을 제시했다. 이렇듯 _동양화의 감상과 기법_은 동양화의 실기 방법과 화론이 일목요연하게 서술된 미술 교재다. 또한 이응노 개인의 창작 방법론, 역사관뿐만 아니라 출간 당시 동양화단에서 논의된 핵심 담론이 내재되어 있는 미술사 저서다. This research has analyzed The Appreciation and Techniques of Oriental Painting (1956), which has never been presented until now as an independent research. The Appreciation and Techniques of Oriental Painting is an art textbook for middle and high school students written by Ung-no Lee, a representative contemporary Asian artist in Korea. This textbook contains all the basic information on oriental painting from the foundation of oriental painting creation to the means of expressing objects and the summary history on Korean painting. In this text, Lee describes both the theory of the paintings of the past and creational methodologies newly formed in the modern times. The fact that parts of whole paintings have been charted is similar to the editing method of Manual of the Mustard Seed Garden(Chieh Tzu Yuan Hua Chuan), and the technique of ‘sketching(寫生)’ originates from visuality and the creational methodology that he sharpened and polished during his study abroad in Tokyo. In addition, the influence of the History of Joseon(『朝鮮美術史』), a comprehensive history of the Korean arts written by Tadashi Sekino(関野貞) during the Japanese colonial rule, is also witnessed. In particular, Lee addressed the term ‘semi-abstract(반추상)’ in this textbook and suggested it as an alternative to modernity, which was the talking point of oriental paintings at the time. As such, The Appreciation and Techniques of Oriental Painting is a crucial textbook for understanding the practical methods and theories of the discipline in multiple layers. This book intactly witnesses not only the personal creational theories of Lee but also the circumstances of the oriental painting world in the mid-1950s when the text was published. Therefore, The Appreciation and Techniques of Oriental Painting is not only a literary creation by Lee but also a historical mark that informs problems faced by the discipline in the mid-1950s.

청음 김상헌의 경세사상

송희경(Song, Hee-Kyung) 한국양명학회 2015 陽明學 Vol.0 No.41

병자호란 시 척화파로 청음 김상헌(1570-1652)의 생존기인 16세기 후반에서 17세기 중반 동아시아는 국제 질서가 재편된 격변기이며, 당시 조선은 인조반정 · 이괄의 난 · 정묘호란 · 병자호란을 겪었던 국내 · 외적인 혼란기였다. 청음은 정묘 · 병자년의 兩亂에 대의에 입각한 학자적 소신으로 척화를 표명하여 세인의 주목을 받았으며, 관료로서 여러 번의 국난을 겪으며 국가 경영에 대해 나름대로의 경세관을 갖추게 된다. 그는 군주의 자질에 초점을 둔 유가의 전통적인 왕도 정치를 표본으로 삼아 군주가 성학을 통해 부지런히 마음을 닦아 正心을 회복하여 백성을 德化할 것을 역설한다. 그가 주장하는 정치사상의 요체는 군주가 私心을 막고 中正의 마음으로 펼치는 중용정치이며, ‘政事는 반드시 먼저 사람들의 마음에 순응하는 것’이라 천명하였듯이 백성 위주의 민생정치이다. 한편 청음의 經濟觀은 1629년(인조7)에 올린 時弊箚子에 잘 드러나 있는데, 인조에게 당시 관아의 收稅과정에서 자행되는 부정부패를 드러내 제도적인 개혁을 요구하고, 국가의 재정 실태를 陳情하며 구체적인 경제개혁안을 제시한다. 그리고 병자호란 이후 형성된 복수설치의 의지는 자주국방론으로 이어지며 그의 경세사상의 한 축을 형성해 간다. 오랜 기간 從仕하면서 政局을 주도하고 國政을 가늠한 施策속에서 드러나는 현실 개혁의지는 그가 올린 140여 편의 時宜상소에 잘 나타나 있다. In the late 16th century through the mid-17th century when Chungeum, Kim sanghyun(1570-1652) who belonged to the faction of the rejection of peace lived during the Manchu invasion, East Asia underwent a rapid change in the reshuffle of international order and the Joseon Dynasty at the time was seized with chaos both home and abroad, going through Injo’s restoration, Yikwal’s rebellion, the Chinese Invasion of Joseon Dynasty, the Manchu invasion. Chungeum attracted public attention expressing the rejection of peace with scholarly conviction based on great cause during both Chinese Invasion and the Manchu invasion and got a view of administration for the management of state undergoing several national crises as a bureaucrat. Citing traditional royal politics of Confucianism focused on qualities of a monarch as an example, he emphasized that a monarch should influence his people by virtuous example by cultivating his mind diligently through Neo-Confucianism and recovering upright mind. The main point of his political thought is moderate politics which a monarch executes with impartial mind, not selfish mind and politics for the livelihoods of the public as clarifying that political affairs certainly should conform to public mind first. Meanwhile, Chungeum’s economic view is well written on 『Shipaechaja』 in 1629(the king Injo the 7th). He demanded to the King Injo that economic reform should be needed, revealing corruption that occurred in collecting taxes in the government office at the time. Also he demanded economic reform raising an issue of the real condition of national fiances. And his self-reliant awareness of revenging the sense of shame that had been formed since the Manchu invasion led to the nation’s self-defense and formed his governing thought. Also his realistic reform will that is represented in the ploy judging state affairs is well displayed in the timely memorial he addressed to the King as being loyal to the king for long and taking the lead in political situation.