『白社會帖』과〈白社老人會圖〉

송희경(Song Heekyung) 한국미술연구소 2004 美術史論壇 Vol.- No.18

The Baeksa Hoecheop (Baeksa assembly album, 『白社會帖』) is a commemorative album published on the event of the assembly of 14 elderly men in 1784. Composed of 22 pages, the paintings are executed ink and light color on paper, and measure 41.5×31.5㎝, The album begins with the tide, “Baeksa Dongyu (Baeksa members enjoy together, 白社同遊),” and then goes on in pages 4 and 5 recording the pen name, birth date, and birth place of the 14 members. According to the records in pages 4 and 5, the participants included Jeong Gye (鄭棨, 1710-1793), Hong Juman (洪周萬, 1718-?) Jeong Mok (鄭棨, 1720-?), Song Jeno (宋濟魯, 1711-?), Gang Sedong (姜世東, 1714-?), Jeong Jip (鄭集, 1715-?), Eom Gu (嚴球, 1716-?), Yi Jingdae (李徵大, 1717-?), O Myeonggu (吳命久, 1718-?), Hong Gihan (洪起翰, 1719-?), Yi Uihyeong (李宜馨, 1720-?), Yi Hyejo (李惠祚 1721-?), Yi Myoungjun (李命俊, 1722-?), and Sin Taekgwon (申宅權 1722-?). On pages 6 and 7, an introduction is written by Jeong Gye, while on pages 7 to 14, poetry composed by the participants are listed. On page 15, writings by Song Jeno can be seen, and on pages 16 and 17, additional comments by Yi Hyu (李休, 1708-?), Song Jeyu (宋濟愚 1708-?), Bak Heonchae (朴獻采 1716-?) and Hong Eungjin (洪應辰 1710-?) are found. On page 18, Hong Juman s essay (1793) is recorded, while on page 19, Sin Taekgwon S writing (1797) is found. On pages 20 and 21, it appears that Jeong Suyeong (鄭遂榮, 1743-1832)' s paintings were present, but they are now detached. Most of the participants were related to each other. Jeong Gye and Jeong Mok. Song Jeyu and Song Jeno were brothers, while Hong Juman and Gang Sedong, Sin Taekgwon and SongJeyu were in-laws. Moreover, Gang Sedong and Gang Sehwang came from dle same Gang family of the Jinju dan. Eom Gu' s father was Song jeno' s father-in-Iaw making the two brothers-in-law. Thus, the Baeksa-hoe(白社會) assembly members constituted of dose-knit families and friends, in similar ages. Jeong Gye writes in his introduction mat former officials gathered in me west of the city. outside me city walls, in order to spend time together enjoying each others company and composing poetry. And thus, this album was created to record the poetry. Moreover, Sin Taekgwon writes in another essay that the 18 participants were 'extremely dose to each other, sharing and disposing together,' and that their 'good health, comrort, and happiness coming from their correspondence' brought about the production of this album. After retirement, me participants Lived nearby one another and held regular' meetings recalling their past official lifestyle and enjoying their old age. Most of the poetry included in the Baeksa Hoecheop discuss the strong friendship among the participants or the lamentation on me ephemeral life of me contrasting past and present, instead of me depiction of natural scenery or me specific discussion of people. Vocabulary such as 'peaceful reign: 'song of good harvest: and 'dream of high posts' imply me wealth and glory enjoyed in dle younger days, In contrast, words Like 'old age: 'poor home covered in snow', and 'last sear' anticipate the distress and transient life of me aged. In his painting, Jeong Suyeong chose to adopt the circular' composition, often used in elderly assembly paintings or commemorative paintings, continuing the mid Joseon (朝鮮, 1392-1910) assembly painting tradition. By placing the pine tree which symbolized longevity. righteousness and friendship on the right hand Side, the painter emphasizes the lofty characteristics of the participants. Moreover, the elderly, wearing everyday clothes, are depicted with Light ink and colors in steady brushwork, TIle background is also painted with light colors, creating an elegant and mellow atmosphere. Thus, dle figures in me paintings of the Baeksa Assembly present a group of intellectual scholars who also enjoyed refilled aesthetic pleasures. The painting itself is a visual creation by me Literati who pursued idyllic morality and unworldly elegance. The Baek

문화 : 정선이 그린 정호(程顥),정이(程이) 고사인물화

송희경 ( Hee Kyeong Song ) 한서대학교 동양고전연구소 2011 동방학 Vol.20 No.-

본 논문의 목적은 정선이 그린 정호 정이고사도의 시각적 특징과 조선시대 이정고사도의 전개양상, 그리고 정선의 제작방식을 규명하는 것이다. 북송대 유학자였던 정호와 정이는 정반대의 성격을 지닌 한 살 터울의 형제이자, 도학의 새로운 흐름을 열었던 지적 동반자였다. 그들은 강한 개성과 독특한 일화를 남긴 선학으로, 혹은 주자에게 절대적 영향을 준 신유학의 창시자로 기억되었다. ``방화수류(傍花隨柳)``, ``정문입설(程門立雪)``, ``부강(부江)`` 등의 제재로 표현된 이정고사도는 정선이 그린 송대성현의 고사인물 중에서 제재와 작품수가 가장 많았다. 정선이 그린 이정고사도의 형식은 자연배경에 고사상이 배치된 산수인물화이며, 기법은 남종화법을 근간으로 한 수묵담채화였다. 그의 다른 고사인물화와 마찬가지로 고사의 일화를 도해할 때 조선중기의 전통을 계승한 산수인물형식을 도입해서 풍류와 낙도(樂道)를 누리는 정호 정이상을 완성했다. 16세기에는 정호, 정이가 도학의 계승자들과 함께 화첩이나 병풍에 장첩되었는데, 그림의 주인공들은 도통계보의 인명도설에 포함된 인물들이었다. 정선과 같은 시기에 활동한 어유봉의 <병화십찬>을 통해 고사일화형식을 갖춘 송대성현의 고사도가 18세기 전반에 이미 정착되었음을 알 수 있다. 정선의 그림에 표현된 정호와 정이는 권위를 내세운 관료도, 위엄을 갖춘 지도자도 아니었다. 분석적이고 논리적인 유학자였지만, 때로는 자연을 즐기고 때로는 세상사에 초연할 줄 아는 처사이자 참진리를 추구하는 진정한 지식인이었다. 정선은 정호, 정이의 고사를 해석하면서 자신만의 화법으로 새로운 화면을 창안했다. This thesis is to identify the visual characteristics of Jeon Seon`s gosa paintings of JeongHo and JeongE, JeongHo and JeongE were Confucians during the Northern Song dynasty, brothers who were born only a year apart, and intellectual companions who helped open a new chapter for Taoism. They are remembered as founders of a new Confucianism, who gave absolute influences to Zhu xi as well as pioneering scholars with spirited personalities whose exploits are well known and without comparison. JeongEGoSado, which is composed of a number of subjects such as banghwasuryu, jeongmunipseol, and bugang, It is also the kind of painting that he produced in the biggest quantities. The genres of JeongHo and JeongEGoSaDo as painted by Jeong Seon, belong to the tradition of SanSui figurative painting, featuring gosa seared within a natural background, using softly colored water and ink painting based on the NamJong style (a southern school of Chinese painting). Like other gosa figurative painting by JeongSeon, in which he depicted the daily lives of gosa, he incorporated the SanSui figurative painting techniques that developed from the traditions of the mid-Joseon period, and represented JeongHo and JeongE, who were known to have enjoyed pungryu and nakdo. According to literature, before Jeong Sean the gosa paintings of JeongHo and JeongE were known to have predominantly been incorporated within SeongHyeonGoSaCheop. In the 16thCentury, JeongHo and JeongE featured within picture books or wall screens along with the followers of Confucian from that time. In this way the main characters depicted in these paintings were from an Confucian Diagrams. ByeongHwaSipChan by EoYu-bong - a painter from the same period as Jeong Sean - helped ensure that goon painting of saints from the Song dynasty, employing SanSui figurative painting techniques, became established in the early l8thCentury. As depicted in Jeong Seon`s paintings, JeongHo and JeongE appeared as neither powerful officials nor majestic leaders. Even though they were analytical and logical Confucians, we are reminded that they knew how to find amusement within nature, and to find relief from everyday worldly concerns as genuine intellectuals pursuing fundamental truths. Jeong Seon created a new style of his own while interpreting the old legends of JeongHo and JeongE.

以堂 金殷鎬의 臣字款 회화

송희경(Song, Heekyung) 대동한문학회 2021 大東漢文學 Vol.68 No.-

신자관 회화란 ‘臣’, ‘謹寫’, ‘謹畵’, ‘敬寫’의 표기와 화가 이름이 함께 적힌 왕실 미술로서, 대한제국기 부터 순종 승하 전까지 집중 제작된 시각물을 뜻한다. 김은호의 신자관 회화는 ‘癸亥(1923)’ 간지의 <순종 어진 초본>, ‘戊午(1918)’ 간지의 병풍화, ‘庚申(1920)’ 간지의 창덕궁 대조전 付壁畵 및 기타 회화 등으로 분류된다. ‘계해’ 간지의 <순종 어진 초본>은 황실 사진사로 활동한 이와타 카나에(岩田 鼎, 1870~?)가 1909년 촬영한 사진을 보고 그렸으나, 어떤 정본을 위한 초본인지 분명하지 않다. 현재 김은호의 ‘계해’ 간지 초본이 여러 점 남아 있어, 김은호 자신이 소지한 초본을 1923년에 일괄 서명했을 가능성도 적지 않다. 김은호는 중국 화보와 스승 안중식의 가르침을 토대로 무오년 병풍화 3점을 완성하였다. 이는 고종의 환후를 위해 왕실에 헌상되어 함녕전에 진설되었을 것으로 보인다. 또한 김은호는 1920년 중건된 창덕궁 부벽화 제작에 참여하여 <백학도>를 담당하였다. 대조전 서벽에 걸린 <백학도>는 ‘海巖群鶴’을 그린 화려한 진채화이다. 김은호가 ‘庚申菊秋節’, 즉 1920년 가을에 그린 신자관 회화 2점도 전해진다. 이는 여타 작가의 그림과 함께 창덕궁 대조전 낙성식을 축하하며 순종에게 헌상된 것으로 추정된다. 김은호가 왕실에 바친 회화는 간결하면서도 화사하고 장식적이다. 청년 김은호의 무르익는 필력이 돋보이는 군주의 시각물인 셈이다. The Shinja-gwan(臣字款) paintings were royal artwork on which the names of their artists were written alongside the notations ‘臣’, ‘謹寫’, ‘謹畵’, ‘敬寫’. Such was a message to the king that wrote,(“Thy loyal servant [the name of the artist] humbly tributes.”) The Shinja-gwan paintings were visuals that were intensively produced since the Korean Empire era until the demise of Emperor Sunjong. The Shinja-gwan paintings by Kim Eunho are categorized as the following: the draft of the royal portrait of Emperor Sunjong of the Gyehae Year (1923), the folding screen of the Muo Year (1918), the mural on the wall at the Daejojeon of the Changdeok Palace of the Gyeongsin Year (1920), and other paintings. The draft of the royal portrait of Emperor Sunjong of the Gyehae Year(possessed by the National Museum of Modern and Contemporary Art) was drawn from a photograph taken in 1909 by an imperial photographer Kanae Iwata (岩田 鼎, 1870~?). However, the original manuscript for which this draft was meant is unclear. Under these circumstances, several drafts of the Gyehae Year drawn by KIm Eunho remain to date. This suggests that Kim Eunho himself may have collectively signed in 1923 all the drafts that he owned.Based on Chinese pictorials and the teachings of his teacher Ahn Joongsik, Kim Eunho completed three pieces of the folding screens of the Muo Year. These pieces appear to have been set up in the Hamnyeongjeon, so that they could be presented to the royal family in order to wish for the recovery of Emperor Gojong. Also, Kim Eunho participated in the production of the mural at the Changdeok Palace (the palace rebuilt in 1920) and took charge of Baekhak-do(the Painting of the White Cranes). His Baekhak-do, hung on the Western Wall of the Daejojeon was a splendid painting that depicted a sea, a boulder, and a flock of cranes. In this situation, ‘Gyeongsin Gukchoo-jeol(庚申 菊秋節)’, the two paintings, he painted in the fall of 1920, have also been passed down to date. These paintings, along with those by other artists , have been presumably included in the production of a folding screen and presented to Emperor Sunjong to celebrate the reopening of the Daejo Court of the Changdeok Palace. The paintings presented by Kim Eunho to the royal family are concise but bright and decorative. They are visual works for a monarch in which the ripe writing of the young Kim Eunho stands out.

南宋의 瀟湘八景圖에 관한 硏究

송희경(Song Hee-kyung) 한국미술사학회 1995 美術史學硏究 Vol.- No.205

위사(渭士) 강필주(姜弼周)의 행적과 회화

송희경 ( Song Heekyung ) 온지학회 2021 溫知論叢 Vol.- No.68

위사(渭士) 강필주(姜弼周, 1852-1932)는 구한말을 거쳐 일제강점기까지 활동한 화가다. 대한제국기에는 여러 도감의 화원으로, 1910년대에는 서화미술회와 서화협회의 회원으로 활동하였다. 그리고 장승업(張承業, 1843-1897)의 양식을 계승하여 산수화, 인물화, 화조화, 기명절지도 등, 동양 회화의 다양한 제재를 두루 섭렵하였다. 화가 강필주의 공식 이력은 1900년 어진모사도감의 방외화원 선발에서부터 확인된다. 왕실과의 인연이 돈독하여 여러 의궤에 화사로 활약하거나, 고종이 주관한 함녕전 휘호에 참여하기도 하였다. 특히 음력 1917년 ‘납월 상순’에 완성한 국립고궁박물관 소장 ≪기명절지도≫와 ≪노안도≫ 가리개는 왕세자 이은(李垠, 1897-1970)의 조선 방문을 기념하며 제작한 시각물이라고 판단된다. 이는 7년 만에 귀국한 왕세자와 고종, 순종이 함께 한 함녕전서온돌 오찬에 활용되었을 가능성이 높다. 강필주는 1910년대 전통화단을 이끈 서화미술회와 서화협회의 회원으로 활동하면서 적지 않은 휘호회나 합작 제작에 참여하였다. 이러한 경우에는 주로 노안도나 산수화를 많이 그렸다. 현장에서 바로 그림을 완성해야 하는 시간적 제한과, 여타 작가의 화목과의 차별화를 위한 의도였을 것으로 생각된다. Kang Pil-joo, also known for the art name Wei-sa, was an artist who was active from the Late Period of the Joseon Dynasty to the Japanese Colonial Period. He was active as a painter of various illustrated books during the Korean Empire and as a member of the Calligraphy and Painting Art Society and the Calligraphy and Painting Association in the 1910s. Furthermore, inheriting the style of Jang Seung-eop, he mastered all the materials of oriental painting, such as landscape paintings, portrait paintings, flower bird paintings, and still-life paintings of bowls and flowers. Once can find the official history of Kang Pil-joo from as early as the selection of a nongovernmental painter in 1900. He also had a strong relationship with the members of the Royal House of Yi. Thus, he was active as a painter in various Uigwe (recordings of royal rituals and ceremonies of the Joseon Dynasty). He also participated in the artist gatherings for collaborative painting at Hamnyeongjeon, hosted by King Emeritus Gojong. In particular, the still-life paintings of bowls and flowers and wild goose paintings, completed at the beginning of the lunar calendar in 1917 and currently in the collection of the National Palace Museum, are judged to have been visuals created to commemorate the visit of Crown Prince Yi Eun to Joseon. Such a judgment is based on the high probability that it was used for the celebratory luncheon in the West Ondol Chamber of Hamnyeongjeon, where the Crown Prince, who returned to Korea after 7 years, was joined by King Emeritus Gojong and King Sunjong. Kang Pil-joo was a member of the Calligraphy and Painting Art Society and the Calligraphy and Painting Association, which led the traditional art world in the 1910s; he also participated in a number of artist gatherings for joint painting and collaborative productions. On such occasions, he mainly painted wild goose paintings or landscape paintings. Such is interpreted to be the result of a combination of the time limit of having to complete the painting on the spot and the intention to differentiate it from other artists' harmonies.

유근의 『초등소학수신서』(1908)와 삽화의 시각성

송희경(Song, Hee-kyung) 숭실대학교 한국문학과예술연구소 2017 한국문학과 예술 Vol.21 No.-

『초등소학수신서』는 개화기 지식인인 석농(石農) 유근(柳瑾, 1861-1921)이 1908년 편찬한 도덕 교과서이다. 소학교육과 연관된 교훈적인 이야기를 토대로 60개의 단원으로 구성되었고, 각 단원마다 삽화를 삽입하여 본문의 이해를 도왔다. 『초등소학수신서』는 당시 조선통감부의 감시 하에 학부(學部)가 주도한 교과서와 내용상의 차이를 보인다. 예컨대 1908년에 학부가 간행한 『보통학교 학도용 수신서』는 학교라는 공적 영역에서 학도로써 지켜야 할 규범과 인물 서사를 많이 제시한 반면, 『초등소학수신서』는 구체적인 인문의 예시 없이 비유를 통해 인간의 올바른 삶과 애국 계몽의 중요성을 피력했다. 여느 교과서 삽화에 비해 묘사력이 매우 뛰어난 『초등소학수신서』는 교육의 대상인 아동을 주인공으로 부각했고 인물의 동세에 중점을 두어 단원의 메시지를 잘 전달해 주었다. 아직까지 누가 삽화를 그렸는지 밝혀지지 않았지만, 이 글에서는 유근과 대한자강회 활동으로 친분이 있었던 이도영을 삽화의 작가로 추정해 보았다. 이렇듯 『초등소학수신서』는 근대기 수신교과서 중에서 대한제국이 처한 사회변동과 국내외 혼란을 극복하기 위한 해법을 현명하게 제시한 교재이다. 학생 스스로 답을 찾도록 질문을 던지는 실천지향적인 구성을 통해 자립하는 학생, 공덕심을 아는 학생, 애국하는 학생의 양성을 목표로 한 것이다. 다층적 함의가 담긴 60대 단원의 질의응답을 보면서 조선통감부의 억압 하에서 나라를 지키려는 한 지식인의 교육관과 방법론을 발견할 수 있다. Chodeung Sohak Susinseo is an ethics textbook compiled by Seoknong Yoo Geun in 1908. It contains 60 chapters, including a selection of stories with moral lessons in relation to elementary education, with illustrations for each chapter to aid the comprehension of the texts. Chodeung Sohak Susinseo shows a qualitative difference in terms of content compared to the ethics textbooks published by the Department of Education (學部) under the supervision of the Imperial Japanese Resident-General of Korea. While the Botonghakgyo Susinseo, which was published by the Department of Education in 1908, focuses more on the codes of conduct and the role models of students in the formal and public contexts of schools, Chodeung Sohak Susinseo uses metaphors to express the importance of a proper life and the patriotic enlightenment of individuals. The illustrations included in Chodeung Sohak Susinseo is notable in that they are highly expressive compared to those of the other textbooks of the era. While the artist behind the illustrations have never been conclusively identified, this article suggests that the illustrator is Lee Doyoung, a fellow member of Yoo Geun in the Korea Self-Strengthening Society. “Chodeung Sohak Susinseo” is distinguished from the other textbooks of its era by its purpose, which was to raise independent and patriotic students with a strong sense of public duty. It was, in short, an ethics textbook that offers an intuitive understanding of the ways in ways in which young students strive forward to overcome the social turmoil and the chaos brought about by the Korean Empire.

원문자(元文子, 1944- )의 한국화

송희경 ( Song Heekyung ) 이화여자대학교 한국문화연구원 2018 한국문화연구 Vol.34 No.-

한국화의 현대성 담론은 1950년대부터 지금까지 논의되어 왔지만, 정작 “현대성을 이룩한 동양화란 무엇인가”라는 질문의 해답을 찾기란 쉽지 않다. 이 글에서는 원문자(元文子, 1944- )의 작품 세계를 고찰하여 그 해답을 찾고자 했다. 원문자는 동양화 작가로 입문한 1960년대부터 지필묵으로 표현가능한 모든 기법을 탐구했다. 그리고 동아시아에서 길상과 기복의 표상이었던 진채 화조화의 원형을 계승하고, 이를 사생 몰골의 수묵 담채로 전환하여 일상성이 가미된 소경화조화를 제작했다. 1980년대 중반부터 발묵과 담채, 선염을 바탕으로 형태를 점차 간략화했고 1989년부터 닥종이를 활용한 한지부조 작업을 시도했으며 2000년대에는 균질한 입자의 반입체 수묵 추상화를 발표했다. 원문자가 평생 실험한 ‘한국화의 현대성’의 근간은 바로 지필묵이다. 그는 서양화의 재료와 구별되는 한지, 모필, 먹, 채색 안료, 아교 등이 ‘물’과 어우러졌을 때 파생되는 다양한 기법을 선보이면서 한국화의 현대성이 가능함을 제시했다. 평생 전통 재료의 물성을 탐구하며 평면에서 입체로 전환했고, 구상에서 추상으로 확장했다. 이것이 원문자의 한국화가 이룩한 현대성이 아닐까 한다. Although the discourse of modernity in Korean painting has been discussed since the 1950s, the answer to the question “What is modernization?” is still very controversial. In this article, I have tried to find the answer by examining the world of art works of Won, Moonja(元文子, 1944- ). Since the 1960s, when she first started to work as an oriental painting artist, she has explored all techniques that can be expressed in Jipilmook 紙筆墨. Succeeding the prototype of a deep-coloured painting of flowers and birds that were the symbols of luck and the wish-granting, in East Asia, she has transformed into a light-coloured ink-and-wash painting and completed small-scenery paintings about everyday life. Since the mid 1980s, she has simplified formality of shapes based on splashing, light colouring, and pre-dyeing, Since 1989, she has attempted to make a relievo using Hanji. In the 2000s, she completed the semi-3-dimensional abstract paintings of homogeneous particles. The foundation of her ‘modernity of Korean painting’ is Jipilmook, which she has experimented with for a long time. She has suggested that modernization of Korean painting is accomplishable by trying all the techniques created by combining Hanji, brush, ink, color pigments, and glue with ‘water’, which are distinguished from Western painting materials. For a moment she did not leave traditional materials, but she explored their properties, shifted from planar to solid, expanded from concept to abstract, and from deep-coloured to light-coloured. This may be the modernity that her Korean painting has achieved.

지식의 공유 및 확산 : 지식 경영 활성화를 위한 지식 확산 전략 및 구조 연구

송희경 ( Song Hui Gyeong ),이종국 ( Lee Jong Gug ),한관희 ( Han Gwan Hui ) 한국지식경영학회 1999 지식경영 학술심포지움 Vol.2 No.-

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.

특집 : 여말선초 문예의 전환기적 논리 ; 조선초기 소상팔경도(瀟湘八景圖)의 시각적 번안과 그 표상적 의미 -강천모설(江天暮雪)을 중심으로

송희경 ( Hee Kyeong Song ) 온지학회 2006 溫知論叢 Vol.0 No.15