근대의 화조화가 이한복(李漢福, 1897~1944) (Lee Hanbok (李漢福, 1897~1944), Modern Painter of Flowers and Birds)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 26호 / 215 ~ 236페이지
· 저자명 : 강민기

초록

Lee Hanbok (李漢福, 1897~1944) was a painter of flowers and birds who was active during the colonial period. He made his debut with the premium of having graduated from the Tokyo School of Fine Arts (To¯kyo¯ Bijutsu Gakko¯ 東京美術學校). From the start of his debut, he led the trend of painting of flowers and birds during the modern period by painting such plants and animals as thistles, cranes, and ducks. Although being the focus of attention by receiving awards that got better each year since the beginning of the Joseon Misul Jeollamhoe (朝鮮美術展覽會; an annual art exhibition organized by Japanese authorities during their occupation of Korea) in 1922, the critique of his work during the era was divided between 'an ideal example of Korean paintings' and 'copy of Japanese painting style.'Current evaluation of Lee Hanbok is not very positive, even considering his wide range of work and skill in painting, calligraphy, and art identification. Though brittle-looking, he shrouded himself in self-importance and contented himself easily with modern Korean painter society which showed his lack of reflection. During his latter days, he was active socially by participating in the exhibition for the poor and making public lectures. However, this was overshadowed by his frequent hubristic remarks and elitist aesthetic sense. Moreover, at the end of the colonial period, he did such pro-Japanese actions as presenting a painting that praised the war between Korea and Japan, and traveling to Japan along with Japanese officials as a member of the League of Nations for Korean Namwha (朝鮮南畵聯盟). This makes him a complex character, and he can be said to contain both sides of Modern Korean Art History.
This research, from Hanbok's painting of flowers and birds, seeks to examine the period of learning traditional paintings under Ahn Jungshik (安中植), Jo Sukjin (趙錫晉), at the Seohwamisulhoe (書畵美術會; calligraphy and painting school), the period when the painting style underwent a change while learning to paint flowers and animals at Tokyo University of Fine Arts, and the period after 1930s that showed playing of the ink.
Moreover, although it was recorded that Hanbok was deceased in 1940, it was found out that he passed away in May 20th, 1944.
Lee Hanbok attended Seohwamisulhoe when it was first established in 1911 to 1914, when he graduated. During this time, Lee Hanbok succeeded his teacher, Ahn Jungshik's style while also following the style of Yun Shoup'ing (惲壽平) in Chung, showing his interest in painting with both ink and color. In 1918, he became the first foreign student in The Tokyo School of Fine Arts (To¯kyo¯ Bijutsu Gakko¯ ) and graduated in 1923. Studying in Japan gave him much pride and a sense of superiority, and his confidence was bolstered through performing well at Joseon Misul Jeollamhoe in which he participated as a student.
Lee Hanbok took part in Joseon Misul Jeollamhoe for a total of eight times until 1929. He had already been painting flowers, birds, and animals since then. For the last two exhibitions he also submitted landscape paintings, but it was clear that his focus was on paintings of birds and animals.
That Lee Hanbok submitted his works both at Joseon Misul Jeollamhoe's calligraphy section and paintings section at the same time clearly distinguishes him from other painters of the period. His Zhuan Shu (篆書, a type of calligrpahy style) was influenced by Wu Ch'ang-shih (吳昌碩, 1844~1927) and Taguchi Beiho (田口米舫, 1861~1930). From around 1929, he started to draw Wu Ch'ang-shih style flower paintings, but also focused on painting identification activity. His active years were the time of change of modern searching. Painters were rapidly changing and the painting styles were subject to much change. Hanbok first drew new styles of paintings, but unfortunately did not vary his subject matter much. Although he was a talented painter skilled in paintings, calligraphy, connoisseurship, it seems that he did not adapt successfully to the changing society. Through Hanbok, we could contrastively think about what kind of a painter the time then wanted.

영어초록

Lee Hanbok (李漢福, 1897~1944) was a painter of flowers and birds who was active during the colonial period. He made his debut with the premium of having graduated from the Tokyo School of Fine Arts (To¯kyo¯ Bijutsu Gakko¯ 東京美術學校). From the start of his debut, he led the trend of painting of flowers and birds during the modern period by painting such plants and animals as thistles, cranes, and ducks. Although being the focus of attention by receiving awards that got better each year since the beginning of the Joseon Misul Jeollamhoe (朝鮮美術展覽會; an annual art exhibition organized by Japanese authorities during their occupation of Korea) in 1922, the critique of his work during the era was divided between 'an ideal example of Korean paintings' and 'copy of Japanese painting style.'Current evaluation of Lee Hanbok is not very positive, even considering his wide range of work and skill in painting, calligraphy, and art identification. Though brittle-looking, he shrouded himself in self-importance and contented himself easily with modern Korean painter society which showed his lack of reflection. During his latter days, he was active socially by participating in the exhibition for the poor and making public lectures. However, this was overshadowed by his frequent hubristic remarks and elitist aesthetic sense. Moreover, at the end of the colonial period, he did such pro-Japanese actions as presenting a painting that praised the war between Korea and Japan, and traveling to Japan along with Japanese officials as a member of the League of Nations for Korean Namwha (朝鮮南畵聯盟). This makes him a complex character, and he can be said to contain both sides of Modern Korean Art History.
This research, from Hanbok's painting of flowers and birds, seeks to examine the period of learning traditional paintings under Ahn Jungshik (安中植), Jo Sukjin (趙錫晉), at the Seohwamisulhoe (書畵美術會; calligraphy and painting school), the period when the painting style underwent a change while learning to paint flowers and animals at Tokyo University of Fine Arts, and the period after 1930s that showed playing of the ink.
Moreover, although it was recorded that Hanbok was deceased in 1940, it was found out that he passed away in May 20th, 1944.
Lee Hanbok attended Seohwamisulhoe when it was first established in 1911 to 1914, when he graduated. During this time, Lee Hanbok succeeded his teacher, Ahn Jungshik's style while also following the style of Yun Shoup'ing (惲壽平) in Chung, showing his interest in painting with both ink and color. In 1918, he became the first foreign student in The Tokyo School of Fine Arts (To¯kyo¯ Bijutsu Gakko¯ ) and graduated in 1923. Studying in Japan gave him much pride and a sense of superiority, and his confidence was bolstered through performing well at Joseon Misul Jeollamhoe in which he participated as a student.
Lee Hanbok took part in Joseon Misul Jeollamhoe for a total of eight times until 1929. He had already been painting flowers, birds, and animals since then. For the last two exhibitions he also submitted landscape paintings, but it was clear that his focus was on paintings of birds and animals.
That Lee Hanbok submitted his works both at Joseon Misul Jeollamhoe's calligraphy section and paintings section at the same time clearly distinguishes him from other painters of the period. His Zhuan Shu (篆書, a type of calligrpahy style) was influenced by Wu Ch'ang-shih (吳昌碩, 1844~1927) and Taguchi Beiho (田口米舫, 1861~1930). From around 1929, he started to draw Wu Ch'ang-shih style flower paintings, but also focused on painting identification activity. His active years were the time of change of modern searching. Painters were rapidly changing and the painting styles were subject to much change. Hanbok first drew new styles of paintings, but unfortunately did not vary his subject matter much. Although he was a talented painter skilled in paintings, calligraphy, connoisseurship, it seems that he did not adapt successfully to the changing society. Through Hanbok, we could contrastively think about what kind of a painter the time then wanted.

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