심산 노수현의 현실의식과 관념세계 : 1920년대의 〈日暖〉을 중심으로 = The Realism and Idealism of No Su-Hyun

다국어 초록 (Multilingual Abstract)

Simsan, Noh, Soo-Hyun has been counted as one of the six master painters of modern color-ink painting circles. He developed his art world with landscape paintings. His SimsanYugok(심산유곡) formed an enchanted land(仙境), that has a very idealistic disposition. This is what differentiates him from his contemporaries, such as Chungjun, Lee, Sang-Chul or Sojung, Byun, Kwan-Sik. Simsan's ideal place was Yugok(유곡), which was to be found remote from the real world.
However, Simsan in the 1920s unfolded his artistic talents, dealing from work based on the realities consciousness or realistic spirit to the realm of cartoons, a much unknown field at that time. This is very suggestive: The transformation of an artist's view of the world or the expansion of his field of action serves as an important index to understand his artistic mind. In 1925, Simsan exhibited a very unique piece of work called ＜Il-nan＞ to the Chosun Fine Arts Exhibition. It was then a rare case in the painting circles, to realistically depict its contemporary populace. Having no parallel instance to it, it was even suspected the realistic portrayal of living people was not to be produced by Simsan.
His ＜Il-nan＞ was a landmark work in the 1920s, when traditional landscape paintings were the main current of paintings. As if following the view of those critics who advocated the spirit of age, Simsan presented an unprecedented piece of work. It was the realities consciousness or realistic spirit of young Simsan, which also had much significance in art history. Furthermore, Simsan led his life as a realistic painter, a good example of which is publishing serial comic strips in a newspaper. His cartoon work is also to be reappraised in earnest.
Yet Simsan chose to take the path of the highbrow landscape painter, rather than taking that of a full-scale folk painter by continuing his work such as ＜Il-nan＞ Simsan's return from a realistic work to the traditional landscape painting indicates narrowing our painting circle. Since ＜Il-nan＞ in 1920s became an important piece of art to value its art historical meaning, the reappraisal process of the actualism art should also contain concreteness by now.
Therefore, this article will examine Simsan in 1920s, especially the art historical meaning of his ＜Il-nan(日暖)＞.

목차 (Table of Contents)

• 1) 머리말
• 2) ＜日暖＞의 조형적 특징과 사실정신의 작품들
• 3) 심산의 만화작업
• 4) 심산의 현실의식과 당대 화단과의 비교
• 5) ＜일난＞의 당대평가와 현실의식 문제
• 6) 결론