근대기 평양지역 동양화단(東洋畵壇)의 형성과 전개 (Establishment and Development of Oriental Artistic Communities in Pyongyang during Early Modern Korea)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 28호 / 293 ~ 316페이지
· 저자명 : 김취정

초록

Since the period of Joseon Dynasty, Seoul has been the center of culture and art in the Korean peninsula. With regard to formative arts, Seoul was dominated in the quality, sophistication, and quantity in the comparison with other provinces. Such situations became changed in modern times. During the modern period, local artistic communities that could be compared with artistic communities in Seoul were established. Among local artistic communities, Pyongyang painting circle was the most characteristic. Pyongyang was the base city of art equivalent to Seoul during the modern period and left distinctive traces beyond the meaning of a local painting circle.
Pyongyang was the most representative space of entertainment and culture and arts. The rich social and economical circumstances of Pyongyang became the background to establish Pyongyang painting circle and to increase artistic capability. Pyongyang was the place that had artistic capability to allow painting activities and to produce high quality painting works. The characteristics of Pyongyang painting circle can be found at the point that it kept a more close relationship with Seoul painting circle than local artistic communities. The painters in Pyongyang painting circle during the modern period actively involved in the distribution and sales of paintings and calligraphic works and participated in art education and exhibition. It is noticeable that Pyongyang painting circle showed distinctive special aspects as it promptly accepted the new style of painting in comparison with other regions.
The characteristics of supports for Pyongyang painting circle can be found in the wide objects and fields. The figures who continuously supported culture in local areas were rich and intelligent classes and had awareness to make a contribution to the growth of local culture and arts. Such points were deeply related to the fact that consumers for culture and arts in local artistic communities were limited in comparison with Seoul painting circle.
This thesis is meaningful since it examines the history of the supports for paintings and calligraphic works and the history of distribution, reveals the features of local artistic communities during the modern period, and based on that, allows to understand the situation of paintings and calligraphic works during the modern period from all aspects.

영어초록

Since the period of Joseon Dynasty, Seoul has been the center of culture and art in the Korean peninsula. With regard to formative arts, Seoul was dominated in the quality, sophistication, and quantity in the comparison with other provinces. Such situations became changed in modern times. During the modern period, local artistic communities that could be compared with artistic communities in Seoul were established. Among local artistic communities, Pyongyang painting circle was the most characteristic. Pyongyang was the base city of art equivalent to Seoul during the modern period and left distinctive traces beyond the meaning of a local painting circle.
Pyongyang was the most representative space of entertainment and culture and arts. The rich social and economical circumstances of Pyongyang became the background to establish Pyongyang painting circle and to increase artistic capability. Pyongyang was the place that had artistic capability to allow painting activities and to produce high quality painting works. The characteristics of Pyongyang painting circle can be found at the point that it kept a more close relationship with Seoul painting circle than local artistic communities. The painters in Pyongyang painting circle during the modern period actively involved in the distribution and sales of paintings and calligraphic works and participated in art education and exhibition. It is noticeable that Pyongyang painting circle showed distinctive special aspects as it promptly accepted the new style of painting in comparison with other regions.
The characteristics of supports for Pyongyang painting circle can be found in the wide objects and fields. The figures who continuously supported culture in local areas were rich and intelligent classes and had awareness to make a contribution to the growth of local culture and arts. Such points were deeply related to the fact that consumers for culture and arts in local artistic communities were limited in comparison with Seoul painting circle.
This thesis is meaningful since it examines the history of the supports for paintings and calligraphic works and the history of distribution, reveals the features of local artistic communities during the modern period, and based on that, allows to understand the situation of paintings and calligraphic works during the modern period from all aspects.

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