재조선 일본인 화가가 남긴 조선의 단상(斷想) －가토 쇼린진(加藤松林人)을 사례로－ (A Thought on Joseon by a Japanese Painter living in colonial Joseon －In the case of Gato Sholinjin－)

서지정보

· 발행기관 : 한일민족문제학회
· 수록지 정보 : 韓日民族問題硏究 / 45호 / 31 ~ 65페이지
· 저자명 : 김영미

초록

本研究は日本の植民地であった朝鮮で‘画家’としてのアイデンティティを獲得 し、多様な活動で社会的地位を構築した加藤松林人(1898~1983)に注目したう えで、彼が残した絵画と記録から植民地での叙事と戦後日本での旅情を再照 明したものである。方法的には、引揚げられた後の彼が描いた朝鮮に対する‘ノ スタルジア’の仕組を分析することで、彼の‘朝鮮の色’とはどのような情緒と表象か 込まれたものであったのか、さらには、現在の彼に対する評価がどのような脈略 で意味化されていたのかを探求した。 加藤は、すでに朝鮮に定着し、日本人の畫壇を構成していた淸水東雲の門 下生として絵をはじめ、淸水のように朝鮮の畫壇で影響力をもつ重要な人物とし て名をあげた。また、加藤は、当代の日本人画家たちが主に日本の特徴を表 す素材を対象としたことに反して、朝鮮人の文人や画家との交流も持ちつつ、 朝鮮の生活感が込められた朝鮮の風景を描いた。こうした点が、彼の作品が もつ大きな特徴であり、当代の日本人の作家との差がつけられる、と現在に評 価されるところである。なお、彼は戦後の引揚者として、ある‘使命感’から両国 の架橋の役割を模索し、在日朝鮮人との関係を築き、一生に亙り望鄕として朝 鮮の風景を描き、そこでの時間を記録した。そして、両国の国交正常化か成 立する前である1963年に、韓国政府にまぬがれた戦後日本人として‘初’という象徴的な人物になったのである。 近来、植民地期の研究において、多様なアプローチと方法が模索されてい る。その一環として、帝国の制度から離されないが、各文脈で文化コードを 造ってきた、個別的な主体が注目されることになった。‘在朝日本人画家’であっ た加藤の事例は、植民地の文化を造る場で、日本人と朝鮮人に両分離された 二つの主体以外の、いわば、その隙間に漂った個別的な主体の端初を提供す るものである。こうした関心から本研究は、植民地に定着した日本人が‘朝鮮’を 受け入れた方式やそれを思惟する態度の一面を探ったことに意味が附けられ る。

영어초록

The present study focuses on Gato Sholinjin (加藤松林人, 1898~1983) who acquired the identity as a ‘painter’ in Joseon in the Japanese colonial period and established his social position through various activities, and thhereby sheds new light on his life both in the colony and in Japan after the War through his paintings and writings. As the methodology, it analyzes his mechanism of ‘nostalgia’ for Joseon expressed after his returning to Japan, and thereby examines what kind of emotion and symbol his ‘color of Joseon’ reflected and investigates the context in which his arts has been evaluated and appreciated.
Gato was initially made name as a student of Shimizu Toun who had settled in Joseon earlier and led the Japanese art circles, and then he himself became a figure of influence. While other Japanese painters used to take the materials which represented the characteristics of Japan for their art, Gato often painted the landscape of Joseon which showed the life of Joseon as he actively communicated with Joseon writers and painters.
This was the most significant characteristics of his arts, and a distinctive trait that made him unique and different than other artists in the era.
After returning to Japan after the War, he not only tried to play a role as a bridge between the two countries because of his ‘sense of duty’ and maintained a close relationship with the Koreans residing in Japan, but also painted the landscape of Joseon and recorded his time in the country from the nostalgia throughout the rest of his life. Moreover, in 1963 before the diplomatic relations between the two countries was normalized, he was invited by the Korean government to visit Korea for the frist time as a Japanese person after the War.
With respect to the viewpoint with which various approaches and methods to study on the colonial Korea are attempted, it is critical to note individuals who created a cultural code in their own context although they could not be completely freed from the institutional system of Japanese imperialism. The story of Gato who was ‘a Japanese painter living in Joseon’ provides us with a clue to understand other contemporary individuals who positioned themselves in between the Japanese and the Koreans, the two polarized subjects, in the context where the colonial culture was being created. Therefore, this study is meaningful in that through Gato’s case, it has attempted to examine the way Japanese people who resided in colonial Joseon accepted ‘Joseon’ and their way of thinking about the country.

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