해강 김규진 묵죽화와 『해강죽보(海岡竹譜)』 연구 (A Study on Ink Bamboo Painting and Haegang Jukbo(『海岡竹譜』) by “Haegang” Kim Gyujin)

서지정보

· 발행기관 : 미술사학연구회
· 수록지 정보 : 미술사학보 / 52호 / 175 ~ 194페이지
· 저자명 : 김소연

초록

본 연구는 해강(海岡) 김규진(金奎鎭, 1868-1933) 묵죽화의 화풍적 특성 및 『해강죽보』를 분석하는데 그 목적이 있다. 김규진은 묵죽 휘호로 큰 명성을 얻었으며, 서화연구회를 통해 근대 서화계에 큰 영향력 을 행사했다. 그는 일찍이 화가로서 시정과 궁정의 다양한 화풍을 섭렵하고, 사진과 서화유통에도 관심 을 보였으나, 1910년대 중반 이후에 이르러 비로소 사군자 화가로서의 삶을 영위했다 여겨진다. 이 과 정에서 창덕궁 인정전을 장엄했던 1914년 작 〈죽석도 병풍〉과 1915년 순종의 일본 황실 헌상품 〈묵죽 도 병풍〉은 본격적인 묵죽화가로서의 변모를 즈음한 시기의 작품이면서, 계기로도 작용했음을 살펴보았 다. 이후로는 소재와 구도상의 다양한 시도를 통해 각 폭마다 각기 다른 아호로 낙관한 형식의 각폭병풍, 죽림(竹林)을 묘사한 연폭병 형식의 대형 묵죽병풍을 대표양식으로 제시할 수 있었다. 이 밖에는 『해강 난죽보』의 판본을 검토하여 1916년의 초간본, 1918년본 두 본(本)의 존재를 구분했다. 그동안 혼용하여 존재자체를 알지 못했거나, 혹은 재간본으로만 이해되어왔던 1918년본이 1916년 초간본과 전혀 다른 내용의 이본(異本)이라는 점을 확인하며 김규진 묵죽화보의 성격을 파악하는 계기로 삼았다.

영어초록

This study analyzes the painting style of the ink bamboo painting by “Haegang” Kim Gyujin and the Haegang Jukbo. Kim Gyujin became famous with his ink bamboo painting, and he greatly influenced Korean traditional painting in modern times through the administration of Association of Painting and Calligraphy(書畵硏究會). However, he had familiarized the various painting styles since the beginning of his early artwork; he was also a photographer, and was commercially interested in the distribution of painting and calligraphy. By mid-1910s, he had finally determined his life as a painter of orchid and bamboo. In this process, his 1914 work 〈Folding Screens of Bamboo and Stone〉, portraying the solemn Injeongjeon of Changdukgung Palace, and 1915 work 〈Folding Screens of Bamboo〉, dedicated by the Emperor Sunjong to the Japanese Emperor, are works during the time of his transformation as an ink bamboo painter and also the causes of his change. On his works afterwards, Gakpokbyeong[Folding Screens which composed of many paintings, 각폭병], each screen signed with different pen-name with various attempts at subject matters and composition, and large Folding Screens of Bamboo, in the style of Yeonpokbyeong[Folding Screens with sole painting as a whole, 연폭병] describing a bamboo forest, are presented as his representative forms. Additionally, an edition of Haegang Jukbo was examined to differentiate the first edition of 1916 and the edition of 1918. Until now the existence of the edition of 1918 was not known or was known as a re-printing and thus the editions of 1916 and 1918 were used interchangeably; however, the edition of 1918 is confirmed to be a different edition with different contents from the first edition of 1916, and this discovery served as an opportunity to fully understand the characteristics of the ink bamboo painting by Kim Gyujin.

참고자료

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