부포석의 근대일본체험과 중국전통의 재발견 (Exploring Modern Japan : Fu Baoshi’s Rediscovery of Chinese Artistic Tradition)

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· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 31호 / 175 ~ 206페이지
· 저자명 : 이희정

초록

This paper examines how the twentieth-century Chinese painter Fu Baoshi(傅抱石, 1904- 1965) rediscovered Chinese artistic traditions while studying in Japan from 1932 to 1935. One of the most prominent painters who made a constant effort to defend and revitalise Chinese painting amid Western domination in the early and mid-twentieth century, he was deeply concerned with the issue of how to explore a new creative territory within the Chinese ink and brush tradition. Fu Baoshi was born in the last years of the Qing dynasty(1644-1912) when China was going through unprecedented turmoil and transformation. Despite his humble background, his diverse experiences from an early age, including his frequent visits to the mounting and seal carving shops, his education at the newly established modern school, his teaching experiences, his identity as an artist and his overseas study with the help of Xu Beihong(1895-1953), all combined to play a significant role in his individual artistic pursuit as well as his responsibility as an artist representing his country.
This paper focuses on Fu Baoshi’s studies in Japan from 1932 to 1935 and explores the role this experience played as a catalyst for him to rethink the nature of Chinese art and its tradition, providing him with an opportunity to enlarge his artistic horizons. On 5th September 1932, Fu Baoshi went to Japan under a Chinese government scholarship to carry out research into Japanese arts and crafts with the aim of helping to improve the Jingdezhen ceramic industry. During his first year in Tokyo, his observation of Japan’s promotion of arts and crafts and protection of the country’s artistic heritage motivated him to urge the Chinese government to learn from Japan. By visiting art schools, galleries and museums, Fu Baoshi learnt about the Japanese government’s systemic institutionalisation of art and its promotion of art exhibitions and art associations, in particular the significance of national treasures and the importance of preserving them, at the same time increasing his sense of national mission as an artist.
During his second year as a post-graduate student at the Imperial School of Fine Arts in Tokyo(Teikoku bijutsu gakkō, 帝国美術学校; today Musashino Art University), Fu Baoshi concentrated on training in the history of art under the supervision of his Japanese professor Kinbara Seigo(金原省吾, 1888-1958). As such, this paper also investigates how Fu Baoshi engaged with art historical research on Chinese art through the lens of Japanese scholarship and rediscovered and reinterpreted the Chinese art tradition by analysing his own writings and other related Japanese articles. He developed his knowledge on Chinese painting through the Japanese scholarship, particularly on the Eastern Jin painter Gu Kaizhi, Tang and Song painting, and the later Ming painter Shitao, thus broadening his perspective on Chinese painting traditions as well as exerting an impact on his own individual style of painting which he was able to establish in the 1940s.
First, inspired by Kinbara Seigo’s studies, Fu Baoshi started researching the history of ‘lines; in Chinese painting and developed his scholarly interest in Gu Kaizhi. Taking Gu Kaizhi’s Admonitions Scroll as a technical model, he later established his personal style of figure painting depicting female figures. Second, having studied Tang and Song painting through his Japanese professor, he tried to analyse Chinese painting history from the perspective of the painting substance such as ‘line’, ‘colour’ and ‘ink’ as well as technique, with emphasis on the use of brushwork and ink. As well as realising the importance of the works by Chan monks of the Southern Song in terms of Chinese painting history, he was attracted to the monks’ dramatic treatment of ink and their experimentation with ink tonality which became sources of inspiration for his landscape paintings after he returned from Japan. Third, inspired by the Japanese scholarship on Shitao such as Hashimoto Kansetsu’s monograph, Fu Baoshi published his first scholarly article on Shitao in March 1935 entitled “A Chronology of the Bitter Gourd Monk” which he wrote in Japanese for the art journal Land of Beauty, marking the beginning of his enthusiastic and lifelong research on Shitao. Later he published his work A Chronology of Shitao(1948) which became a significant and essential reference for scholars. Shitao’s artistic spirit and painting also inspired Fu Baoshi in constructing his innovative brush work known as Baoshi cun.

영어초록

This paper examines how the twentieth-century Chinese painter Fu Baoshi(傅抱石, 1904- 1965) rediscovered Chinese artistic traditions while studying in Japan from 1932 to 1935. One of the most prominent painters who made a constant effort to defend and revitalise Chinese painting amid Western domination in the early and mid-twentieth century, he was deeply concerned with the issue of how to explore a new creative territory within the Chinese ink and brush tradition. Fu Baoshi was born in the last years of the Qing dynasty(1644-1912) when China was going through unprecedented turmoil and transformation. Despite his humble background, his diverse experiences from an early age, including his frequent visits to the mounting and seal carving shops, his education at the newly established modern school, his teaching experiences, his identity as an artist and his overseas study with the help of Xu Beihong(1895-1953), all combined to play a significant role in his individual artistic pursuit as well as his responsibility as an artist representing his country.
This paper focuses on Fu Baoshi’s studies in Japan from 1932 to 1935 and explores the role this experience played as a catalyst for him to rethink the nature of Chinese art and its tradition, providing him with an opportunity to enlarge his artistic horizons. On 5th September 1932, Fu Baoshi went to Japan under a Chinese government scholarship to carry out research into Japanese arts and crafts with the aim of helping to improve the Jingdezhen ceramic industry. During his first year in Tokyo, his observation of Japan’s promotion of arts and crafts and protection of the country’s artistic heritage motivated him to urge the Chinese government to learn from Japan. By visiting art schools, galleries and museums, Fu Baoshi learnt about the Japanese government’s systemic institutionalisation of art and its promotion of art exhibitions and art associations, in particular the significance of national treasures and the importance of preserving them, at the same time increasing his sense of national mission as an artist.
During his second year as a post-graduate student at the Imperial School of Fine Arts in Tokyo(Teikoku bijutsu gakkō, 帝国美術学校; today Musashino Art University), Fu Baoshi concentrated on training in the history of art under the supervision of his Japanese professor Kinbara Seigo(金原省吾, 1888-1958). As such, this paper also investigates how Fu Baoshi engaged with art historical research on Chinese art through the lens of Japanese scholarship and rediscovered and reinterpreted the Chinese art tradition by analysing his own writings and other related Japanese articles. He developed his knowledge on Chinese painting through the Japanese scholarship, particularly on the Eastern Jin painter Gu Kaizhi, Tang and Song painting, and the later Ming painter Shitao, thus broadening his perspective on Chinese painting traditions as well as exerting an impact on his own individual style of painting which he was able to establish in the 1940s.
First, inspired by Kinbara Seigo’s studies, Fu Baoshi started researching the history of ‘lines; in Chinese painting and developed his scholarly interest in Gu Kaizhi. Taking Gu Kaizhi’s Admonitions Scroll as a technical model, he later established his personal style of figure painting depicting female figures. Second, having studied Tang and Song painting through his Japanese professor, he tried to analyse Chinese painting history from the perspective of the painting substance such as ‘line’, ‘colour’ and ‘ink’ as well as technique, with emphasis on the use of brushwork and ink. As well as realising the importance of the works by Chan monks of the Southern Song in terms of Chinese painting history, he was attracted to the monks’ dramatic treatment of ink and their experimentation with ink tonality which became sources of inspiration for his landscape paintings after he returned from Japan. Third, inspired by the Japanese scholarship on Shitao such as Hashimoto Kansetsu’s monograph, Fu Baoshi published his first scholarly article on Shitao in March 1935 entitled “A Chronology of the Bitter Gourd Monk” which he wrote in Japanese for the art journal Land of Beauty, marking the beginning of his enthusiastic and lifelong research on Shitao. Later he published his work A Chronology of Shitao(1948) which became a significant and essential reference for scholars. Shitao’s artistic spirit and painting also inspired Fu Baoshi in constructing his innovative brush work known as Baoshi cun.

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