作風과 ‘美術’ 개념 수용의 관점에서 고찰한 이왕가컬렉션 = A consideration about the Yi Royal Family Collection from the viewpoints of their style and the acceptance of the concept of Bijutsu

다국어 초록 (Multilingual Abstract)

The special exhibition of Collecting Asia held in the National Museum of Korea consisted of the works in its permanent collection was cross bordered not only geographically but also academically since it crossed archeology, history and art history. Having invited to the international symposium held besides the exhibition of Collecting Asia and had an opportunity to consider about the Yi Royal Family Collection, I would like to write about the collection from the aspect of art historian specialized in Japanese Modern art in Japan. There is a thick accumulation of research and studies on the Yi Royal Family Collection by the scholars and curators of The National Museum of Korea and other scholars. In Japan, an exhibition of Nihonga and art crafts in the Yi Royal Family collection was held in 2003. Its history had been written by Yi Mina, Uchiyama Takeo and Gim(金承熙). It had been pointed out that Kuroita Katsumi directed to construct the framework, and Masaki Naohiko, Wada Eisaku and Tanabe Koji acted an important role to make the Yi Royal Family Collection. Masaki Naohiko’s diary tells that the basic selection of the works was made by Japanese staff including Masaki. It also reveals that Prince Yi saw the works of art to be shown at the Deoksugung Palace in the hall since the Prince wanted to see the works of art before shipping them to Korea. It also tells that the Prince sometimes denied the selection of the works by the Japanese staff which suggests the possibility that the collection reflects the Prince’s taste. Uchiyama Takeo compared Nihonga in the Yi Royal Family Collection with them in 1920’s to 1940’s and pointed out many works of Nihonga in the Yi Royal Family Collection show the importance of Ink lines, and most of them were classified as Nanga or ink painting. Takeuchi Jun-ichi pointed out that Japan did not have masterful works by the artists of the works in the Yi Royal Family Collection, and that the Collection did not reflect the Japanese fashion movement which evaluated the tools for the tea ceremony very highly.
It had already pointed out that most of the oil paintings in the Yi Royal Family Collection reflected the dominant style in the government sponsored exhibition in Japan, while the survey of the exhibition lists shows that the oil painters of the Yi Royal Family Collection had sent the works mainly to the government sponsored exhibitions such as Bunten, Teiten, and some other group shows such as Nikakai, Shunyokai and Issuikai.
In the art world in Japan in 1930’s and 40’s, keen interest about the relation between the art and the society went behind after the big exhibition of the Proletarian in 1932, and the main interest of the artists converged merely on the artistic ones, while the modernism and the application to the native society went side by side. In the modernism movement, works reflecting the new European movements such as the abstract art and the sur-realism, or taking the subjects in the machine civilization and city culture.
In the oil painting world in Japan in 1930’s, academic works were painted mainly by the artists graduated from the Tokyo School of Art, while new groups showing the acceptance of the abstract art, sur-realism and Bauhous were organized; Jiyubijutsuka Kyokai was organized in 1935 by Murai Masanari and others, and Bijutsu-bunka Kyokai was organized by Fukuzawa Ichiro. In the Nika-kai, the new group called Kyushitsu-kai was organized in which Umehara Ryuzaburo and Yasui Sotaro had been active painting using the Oriental brush works based on the study of the Post Impressionism such as Renoir and Cezanne. The art scene in Japan varied widely.
The Yi Royal Family Collection does not have the works reflecting the new movement such as the abstract art, Sur-realism and proletarian art. The newspapers such as the Chosun Ilbo and the Donga Ilbo in those days announced that the exhibit in the Yi Royal Family Museum showed overall art scene in Japan, but it was not the fact. Against the forewords of the catalogue of the Yi Royal Museum referring its collection playing a role of enlightenment, Yi Royal Family Collection did not introduce the art in the front.
As for the characteristics of the oil paintings in the Yi Royal Family Collection, many works of the figures paintings depict the females inside the room not concerning with nude or clothed, and those females are classified as in the urbanized upper middle class. Females in the oriental costumes are favorite motif in those days and the Collection reflects the fashion. As for the landscape painting, only one work depicts the European landscape, and most of the works depict the countryside.
It is pointed out that the “Local Color” was highly evaluated in the Korean Art Exhibition organized by the Government General of Joseon, so that the motifs representing urbanization or modernization were not appreciated, which resulted in narrow range of Korean art focusing in the local, nostalgic motifs and expression. The motifs of the figurative works in the Yi Royal Family Collection reflect the urbanization, while the landscape paintings share the local, nostalgic atmosphere with the woks in the Korean art exhibition. It can be said that the Collection reflects the taste of the upper middle class.
In the Korean art world in 1920’s and 30’s, besides the painters working in the academic style, there were painters interested in the new European movement such as the Impressionism, Post Impressionism, Fauvism, Expressionism and abstract art. Ju Kyung, Koo Bonwoong and Kim Hwanki would be the examples. Considering this situation, we have to admit that the Yi Royal Family Collection did not enlighten the Korean art world.
On the other hand, the exhibit of the Collection in Seoul in 1930’s and 40’s might have played a certain role in the change of the concept of ‘Misul(美術)’ or ‘fine art’ in Korea. The word of ‘Bijutsu(美術)’ was created translati

목차 (Table of Contents)

• Ⅰ. 서문
• Ⅱ. 컬렉션의 성립과 작풍에 대한 개관
• Ⅲ. 이왕가컬렉션의 서양화
• Ⅳ. ‘美術’ 개념의 수용과 컬렉션

참고문헌 (Reference)

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4 北澤憲明, "眼の神殿－「美術」受容史ノート" 美術出版社 1989

5 "東亞日報 1933년 9월 7일"

6 李仁範, "東アジア／絵画の近代－油画の 誕生とその展開" 静岡県立美術館 1999

7 李美那, "東アジア/絵画の近代－油画の誕生とその展開" 静岡県立美術館 1999

8 李英介, "李王家日本美術コレクション始末記" 432 : 1974

9 篠田治策, "李王家徳寿宮日本美術品図録" 李王職 1933

10 全東園, "朝鮮物産共進会と「朝鮮文化財」の誕生" 15 : 2009

11 "朝鮮日報 1933년 9월 7일"

12 "年表"

13 正木直彦, "十三松堂日記 1-4" 中央公論美術出版 1965

14 "http://kanabi-kaken.info/research01/symposium/"