일제말기 진환 소 그림의 상징체계: ‘고개’의 대립쌍 및 ‘날개’ 이미지를 중심으로 = Symbol system of Jin Hwan’s ‘cow paintings’ in the late Japanese colonial period: Focusing on the images of ‘opposite pairs of heads’ and ‘wings’

다국어 초록 (Multilingual Abstract)

The interest in ‘cows’ in the late Japanese colonial period was prominent not only in Lee Jung-seob but also in new painters such as Moon Hak-soo, Song Hye-su, and Jin Hwan. The tendency to take ‘cows’ as the main object of paintings is interpreted as a restoration of ‘events (contents)’ that had been expelled since the 20th century, and as a re-embracing of literature on the canvas. This paper analyzed and interpreted the symbol system of Jin Hwan’s ‘cow paintings’ from the perspective of a poetry researcher and attempted to illuminate them through the prism of the Zeitgeist of the late Japanese colonial period.
Jin Hwan’s cow paintings stand out for their simple cow shapes of omission and transformation rather than their naturalistic and realistic cow shapes. What is particularly noteworthy is the presence of ‘wings’. The mysterious and religious aura of Jin Hwan’s cow paintings is not simply due to the imitation of ‘wings’, but is derived from the directionality of the ‘heads (necks)’ of the main objects and their opposition.
The dualistic opposition structure of figures in Jin Hwan’s cow paintings, such as the opposition between a bowed head and a raised head, a winged cow and a cow in the water, and a cow with a raised head and a boy with a bowed head, etc, proves that Jin Hwan’s cow paintings are composed of a solid and constructive symbol system. Jin Hwan’s cow paintings are structured with the technique of symbolism from the very root, which cannot be anything other than the essence of Jin Hwan’s ‘intellectual line drawing’. The fact that the end of an era and the illusion of the future time are completely combined through the ‘symbol of the cow’ is the core and the historical significance of Jin Hwan’s cow paintings.