1950년대 전통화단의 ‘인물화’ (Figurative Painting Traditional of Korean Painting in the 1950s)

서지정보

· 발행기관 : 이화여자대학교 한국문화연구원
· 수록지 정보 : 한국문화연구 / 28권 / 137 ~ 172페이지
· 저자명 : 송희경

초록

이 글은 1950년대 지필묵으로 완성된 인물화에 주목하여 해방이후 전통화단의 변동과 동양화의 제작 양상을 분석했다. 이 시기 미술계는 전통을 재해석하고서구 신문물을 적극 유입하는 등, 식민사관을 극복하기 위해 다양한 방법론을시도했다. 전통화단의 경우, 일제강점기의 사경산수화가 여전히 답습되었지만 채색=왜색이라는 관념에서 탈피하고자 수묵과 채색을 혼용한 개량된 신동양화를 제작했고, 서구 미술사조인 큐비즘, 앵포르멜, 추상표현주의의 양식을 수용하여 사물의형태를 변형하거나 단순화한 작품을 소개했다. 이 글에서 다룬 1950년대 전통화단의인물화는 일제강점기의 화법을 토대로 시대의 변동에 순발력 있게 대응하며 신선한조형 요소를 모색한 동양화이다. 비록 채색=왜색 공식의 주요 대상으로 인식된탓에 사경산수화에 밀려 비주류로 평가받았지만, 인물화는 서양화, 조각 등 여타장르에 뒤떨어지지 않은 참신한 화법을 고안하여 지필묵의 변동을 주도했다. 이제근대에서 현대로 이행되는 과도기에 여러 실험성을 발휘한 인물화를 재조명해야할 시점이다.

영어초록

This study focuses on aspects of the figurative within Korean painting of the 1950s, analyzing the tendencies found within them and thereby tracing the methods by which the inherent traditional legacies had been interpreted. There was a predominance of abstract painting and work inspired by Art Informal within art at this time；painters reengaging with traditional Korean legacies in order to cast off the historical residues of colonization, while responding to the changes surrounding them by embracing Western modernism.
These influences began to steadily make more impact on Korean painters. Though there were still a large number of works that continued to use traditional materials, such as paper and ink, there were noticeable efforts being made to simplify or transform the objects being depicted. Alongside this embracing of modernism there was a sense of nationalism prevalent among Korean painters after the 1950s, as they sought to reengage with their own history. During this period, a significant amount of Korean painting incorporated a visual language that sought to connect with this zeitgeist, based on theories that emphasized the importance of tradition after the Korean War, as well as the belief that Korean culture might now operate within a global context. There were also a number of artworks appearing during that time that fully embraced existing Western art styles, such as Cubism, Art Informal and Abstract Expressionism. Projects of major national development, vigorously being promoted by the government, were a common subject for the works made during this period.
The figurative painting discussed in this study simultaneously embodies an investment in traditional legacies as well as an acceptance of modernism, and demonstrated how promptly the Korean painters reacted to the changes of the times. It sufficiently acted as an accomplishment for them to seek a new visual language to define themselves. They were successful in being able to develop personal characteristics to their work, without turning their backs on tradition, while at the same time managing to engage with Western styles of art in an appropriate way.

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