한국 서화유물 모사의 역사와 현황 = History and Recent State on Duplicates(Copies) of Cultural Heritage in Korea

다국어 초록 (Multilingual Abstract)

Copying of painting and writing artifacts has been known as a process that painters must follow. It is often found in the history of painting theory that copying does not only mean the reproduction of whatever is visible but also implies the transfer of invisible and internal world of soul. Copies of paintings and writings in the past were studied systematically through the methods of mo (摹, to copy), im(臨, to overloook), and bang(倣, to imitate), however, such methods are no longer significant in materialistic modem world. The purpose of painting and writing copies in the past was to study, appreciate, and record, however, it is now to use as a means of economic profits for limited people as economic value of artifacts overrules cultural one. Therefore, in modern perspective, the copies are considered more negatively and widely understood that copies equate counterfeit. The problem of counterfeit has existed throughout history, but the techniques of counterfeit in modern world have been developed enormously along with the rapid development of high-techs.
A word, copy, is easily found in historical literatures of the Eastern paintings and writings. In Korea, Joseonwangjosillok(『朝鮮王朝實錄』), the Record of the Joseon Dynasty) contains many words of mosa(摹寫, copy of a painting), mojo(摹造, copy of a sculpture), and mogak(摹刻, copy of a carving). It also has the negative record about copied and counterfeited document, however, in most cases, it deals with copying of a kings portrait. (Joseonwangjosillok 『朝鮮王朝實錄』) Record about the copy of kings portrait tells that the pictorial book for copies was created under the kings order to recover former kings portraits that conserved poorly. It also tells that high ranking officials in the government were even gathered to decide what materials to use for copying. Moreover, it was very often that the officials with outstanding achievements were given an award of meritorious retainer under the special order of a king, and these awards were copied for multiple numbers by their offspring and conserved. In Joseon Dynasty, most of the copying was actually done by the offspring to reproduce their ancestral portrait to keep it at the shrine, and it was sometimes done by well-known painters to make outstanding calligraphies or paintings enjoyed and appreciated. Thus, the copies of portraits in Joseon dynasty were done for such practical needs.
Copies in contemporary world impose more meanings than before. First, copies of the actual state(現狀模寫) are to reproduce the present state of a painting artifact. It is produced to replace the original artifacts by the time of a long period exhibition. Since the original artifacts have to be reproduced exactly the same, the damage done by insects, de-coloring by oxidation and stain by mildew also have to be reproduced exactly the same. Moreover, the background materials, colors and degree of damage of the original artifacts should be carefully observed and analyzed with the help of scientific method and equipment. And then the materials that are the closest to the one applied for the original should be used.
Second, copies of restoration (復原模寫) are to recover, rather than to exhibit, the original artifact to its pre-damaged status after the research and observation. This was widely used in the past when the offspring wanted to recover their ancestral portrait to its perfect form. Copies of restoration should be done with similar materials that were used to produce the original, but people might feel unfamiliar and uncomfortable with the original colors reproduced. Therefore, copies of restoration sometimes is treated with antique colors.
Copying tradition in Korea was totally discontinued after the Japanese colonial period, and it is only recent that copying has been revived by the efforts of few artists who have interests in it. However. copies done by them, until now, is hardly regarded as a reproduction by reviving the original techniques and materials upon thorough research and analysis of the original artifacts. This is because it is very rare to have an opportunity to see the original and to research and analyze the original materials. Yet, fortunately, in June 2002, the Kyonggi Provincial Museum was donated two pieces of a portrait of Lee InYup under the condition of conserving the original and producing its copy. Thus, the copying project of portraits has finally begun. And among the artifacts restoration projects organized by the Ministry of Cultural Artifacts, a project to copy the artifacts owned by the Sosoo Institute(紹修書院), located in the North KyungSang Province, was launched to replace the originals concerning possible damages by poor conservation environment during exhibition. This project was started by the Bureau of Culture and Travel at the City of YoungJu, and it is planned to replace the original artifacts with copied ones during the time of exhibition. Since the launch of this project, a portrait of Huihun(晦軒), the 111th national treasure, and a portrait of Juseboong(周世鵬), the 117th treasure, have been done, and the project has been expanded for local tangible cultural artifacts.
Along with scientific development, numerous recording medium have been also developed. People might think that the work of copying is no longer necessary since the development of camera. Taking photos requires a lot less work than copying, and printing can reproduce things as the same. But duplication by camera is limited to the world that can be expressed only through the lens. Printing, also, is similar to photos, but it can use similar background materials and adjust the shade of colors. Photos fade slower than prints. However, neither can express the touch of original colors used. Reproduction of the original colors thickness, brightness, and particles size can only be done by copying, and only copying can revive and succeed the original painting style. Yet, copying also has its shortcomings. Copying cant be hundred percent same as the original and is also costly. Therefore, I'd like to recommend that all three methods should be used accordingly.
Copies in contemporary world are to conserve cultural artifacts, succeed and learn traditional techniques, and inherit intangible customs of the past. And copying projects should not be limited to the field of portraits. The most urgent field is the Thankas in traditional Buddhist temples. These Thankas have been and will be there for a long period of time. However, regardless of being a national treasure, many of them are abandoned in a very poor environment. Not only the damages from surrounding environment but also damages by candles, animals and insects lack any kind of countermeasures. In the future, development of copies should be encouraged not only for the conservation of cultural artifacts but also for the succession of traditional techniques. Moreover, artists who cm participate in such projects should be raised with a long-term perspective.
Throughout the Japanese occupation in early 20th century, most of traditional cultures and arts in Korea were either disappeared or deteriorated. At that time, Japanese cultures along with the western ones were flooded and accepted without having a choice. And we, in 21st century, are even unsure what is a tradition. In the end, the most ideal way to restore traditional culture is to conserve existing cultural artifacts and study and restore them. In this regards, copying might be the best method to combine together all three fields of conservation, research, and restoration. Copying, until now, has been limited to study, appreciate, and record, and regarded as a method to produce counterfeit. However, in 21st century, such negative aspects and prejudice about copying should be overcome, and copies should be regarded as an alternative way in conserving cultural artifacts.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 모사의 역사와 정의
• Ⅲ. 조선시대 모사의 기록과 실예
• Ⅳ. 현대 모사의 현황과 의미
• 1. 현대 모사작업의 현황
• 2. 모사로 재현되는 전통기법
• Ⅴ. 21세기가 요구하는 모사의 방향
• Ⅵ. 결론