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1970년대 한일 화랑 교류: 명동화랑과 도쿄화랑을 중심으로
권행가 한국근현대미술사학회(구 한국근대미술사학회) 2024 한국근현대미술사학 Vol.48 No.-
이 글은 1970년대 한일 미술시장의 교차적 상황을 통해 화랑 초기 형성의 맥락을 살펴보는 것을 목적으로 한다. 이를 위해 한일 화랑 교류의 대표적인 사례인 명동화랑과 도쿄화랑 간의 관계를 전시 활동을 중심으로 분석한다. 1971년에 개관한 명동화랑은 한국 최초의 현대미술 전문 화랑이며, 1951년 도쿄에서 개관한 도쿄화랑 또한 일본 최초의 현대미술 전문 화랑이었다. 두 화랑은 단색화의 백색 미학의 기원이 된 《한국 5인의 작가 다섯 가지의 흰색》(1975)을 개최하는 데 핵심적인 역할을 한 것으로 평가되어 왔다. 그러나 도쿄화랑과 명동화랑의 교류는 이미 1971년부터 시작되었으며, 명동화랑은 도쿄화랑의 한국 초상화와 민화 전시를 협조했고, 도쿄화랑은 명동화랑에서 일본 현대판화와 서양판화 전시를 후원했다. 명동화랑과 도쿄화랑이 70년대 전반기에 고미술, 판화, 현대미술을 넘나들었던 교류는 두 화랑의 관계를 단순히 백색 미학의 형성 배경의 문맥을 넘어서 한일 협정 이후 한국과 일본 간의 경제, 문화적 맥락뿐 아니라 미술 시장사적 맥락에서도 살펴보아야 함을 보여준다. 동시에 이것은 한국의 초기 화랑사가 단순히 경제개발기에 국내의 자본시장 축적과 관련된 시장이 아니라 전후 일본의 미술시장의 흐름, 일본 화상들의 한국 고미술품 시장 진출과도 연동하면서 형성된 체제임을 보여준다. This study explores the early formation of art galleries through the intersection of the Korean and Japanese art markets in the 1970s, focusing on the relationship between Myeongdong Gallery and Tokyo Gallery. Established in 1971, Myeongdong Gallery was Korea’s first modern art gallery, while Tokyo Gallery, founded in 1951, was Japan's first. Both galleries played pivotal roles in the “Five Korean Artists, Five White Themes”exhibition (1975), central to the development of Dansaekhwa’s white aesthetics. However, their exchanges began earlier, in 1971, when Myeongdong Gallery collaborated with Tokyo Gallery on exhibitions of Korean traditional portraiture and folk painting, while Tokyo Gallery supported exhibitions of Japanese and Western modern prints in Korea. The collaboration between these galleries extended beyond the context of Dansaekhwa, encompassing antique art, prints, and modern art. This relationship reflects broader economic and cultural dynamics following the 1965 normalization of Korea-Japan relations, emphasizing that Korea’s early gallery system was shaped not only by domestic capital but also by Japan’s postwar art market and the involvement of Japanese dealers in Korea’s antique art trade.
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컬렉션, 시장, 취향: 이왕가미술관 일본근대미술컬렉션 재고
권행가 국립중앙박물관 2015 미술자료 Vol.- No.87
The creation of an art collection is affected by a number of factors such as political and economic power, aesthetic value, and art market, etc. Many have pointed to the association of the Modern Japanese art collections of the Yi Royal Family Art Museum with power, imperialism, and colonization. This article aims to reflect on the Modern Japanese Art Collections at the Yi Royal Family Museum of Art from the perspective of their relationship with the contemporary art market. Japan tried to establish its first modern art museum in Seokjojeon which is located in Duksu-gung Palace, one of the palaces of Joseon Dynasty. The fundamental reason why Japanese did not exhibit the art works of Joseon but the ones of Japanese artists was to enlighten the colonial Joseon of the sophisticated Japanese modern art. The other reason was that they needed a modern art museum to show their rich cultural heritage of Japan to visitors or foreigners, as there wasn’t any yet until 1940s. However, at the outset, the Museum of Art lacked exhibits to fill its empty walls. Thus, most of the exhibits were lent from Japan to be put on display for a specified period of time, and some of them were purchased by the Yi Royal Family Office and Prince Yi Eun himself. However, the influx of modern Japanese art collections into Joseon in such a massive scale was unprecedented. More importantly, an amount equivalent to half of what the Yi Royal Family Museum at Changgyeonggung Palace spent annually to purchase artwork, mainly ancient works of Joseon, was spent on purchasing modern Japanese pieces. This attests to the fact that the House of Yi was focused on expanding the modern Japanese art collections. Therefore, it is an oversimplification to claim that the Modern Japanese art exhibition was designed solely for the development of the contemporary Joseon art scene. The imported pieces did not just help to stage the Exhibition at Seokjojeon, but they also led to the increase in solo exhibitions of Japanese artists and the sales of their works within Joseon. While some Joseon artists acknowledged that Japanese art could not but occupy the center stage in such a dynamic, others responded by striving to build the identity of Joseon art through delving into the issue of creativity and imitation and studying antique Joseon art pieces exhibited next to modern Japanese art. They also placed a focus on increasing the exhibitions of contemporary artists in Joseon and the sales of their works. In short, the Modern Japanese art exhibition was the epicenter of the struggle of the Joseon art world to survive and to search for its identity through recognizing and defying Japan's influence and finding creativity through imitation throughout the 1930s and 1940s.
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권행가 한국근현대미술사학회(구 한국근대미술사학회) 2019 한국근현대미술사학 Vol.38 No.-
The present paper focuses on the embroidery artist Sun-hee Jang and the Chosun Women Crafts Institute that she managed for around forty years, aiming to analyze the relationship between embroidery and women art in the modern period. After Sun-hee Jang graduated Jeongshin Women’s High School, established by a female missionary of Northern Presbyterian Church, she worked as an embroidery teacher in the same school. In 1919, she was imprisoned for two and a half years for independence movement against Japanese colonialism. While in prison, she taught fellow female prisoners crafting techniques such as embroidery and sewing, and this experience led her to recognize the necessity to provide professional education for women. For Jang, the embroidery was not an easy alternative for the balance between work and home. She believed that the monetary self-reliance of women could contribute to the political independence of the nation. Hence, teaching embroidery was equivalent to the education movement for women’s independence. At the time, the embroiderer became one of the professional jobs for the middle-class women, along with journalist and nurse, as the demand for embroidery increased in the modern crafts industry. Embroidered cushions, Western interior ornaments, framed artwork, aprons, handkerchief, bridal veil, fashion accessories and many other types of products met the consumers’ taste, especially the Modern Girls. The activity of Sunhee Jang as a craft educator, therefore, expands we should view the relationship between modern women and art from craft as art to the multi-layered context of crafts industry which includes commercialization of craftwork, export market, and the conceptual transformation of embroidery.
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