일본남화원의 설립배경과 창작경향- 산수화풍을 중심으로 (The Establishment Background and the Creative Tendency of Nihon Nanga-In(日本南畵院)- Focusing on Landscape Paintings)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 18호 / 58 ~ 80페이지
· 저자명 : 황빛나

초록

Nihon Nanga-In was projected by three persons, Mizuta Chikuho (水田竹圃, 1883-1958), Kono Syuson (河野秋邨, 1890-1987), and Mitsui Hanjan (三井飯山, 1880-1934) as a Nanga (南畵) research group of youth artists from Kyoto region in 1921. However, after that, it recruited Komuro Suiun (小室翠雲, 1874-1945), who was the chief person of Tokyo Nanga school and held exhibition once a year, 15 times total until 1936, except 1923 when Great Kanto Earthquake occurred, It had been used as a stage of Sinnanga presentations throughout whole country. Its foundation and operation was done by Komuro Suiun from Tokyo after the elder Nanga painters from Kansai(關西) region, initial participants in the establishment died, however people who led Sinnanga had Kyosaka (京阪) style, sketching mainly with dry paint and moist Indian ink of the youth artists of Kansai region around Mizuta Chikuho. Ink landscape paintings based on sketching which was born in the painting tradition of Maruyamasijo School (圓山四 條派) of Kansai region, absorbing theoretical contents of the Sinnanga Movement in Japanese painting circle in Daisho (大正) era, was also called ‘Pastoral style’and got standardized and fixed as Sinnanga of salon through festivals.
In contrast, artists from Kanto region including Komuro Suiun produced different independent works adding sketching element, regardless of mastersuccessor relationship, without showing characteristics of school, like Shirokura Niho(白倉二峰), Kiminashi Hyakushoko (岸浪百草居), but different from brushing style and feeling of Kansai painters.
However, until the early 1920s, Nihon Nanga- In’s landscape paintings which had been produced weighing on sketch had been changed to allusive and expressive works during the mid and late 1920s Yano Kyoson (矢野橋村), Yano Tetzujan (矢野鐵山), Mizuta Genjan (水田硯山), their studied works of Personalist painters in the late Ming and early Ching era maximize the effect of Indian ink, that is, Jeokmuk (積墨) under the name of drawing ideal scene based on ‘inner awakening’ beyond actual scene, compared to Expressionism of the West such as Shitao (石濤) and Gong Xian ( 賢).
This thesis examined this categorizing as an Expressionist Southern Painting, contrasted to reformative landscape paintings. In addition, it pointed out that non-Southern Painters like Mizkoshi Syonan (水 越松南), Yamaguchi Hachikushi (山口八九子) who tried to achieve ‘the attitude of free playing spirit of scholar’ putting artist personality to the fore through their works, showed cheerful and wild works unlike the ones of Nanga with expressive tendency.
However, Japanese painting school artists like Imamura Shiko (今村紫紅), Hayami Gyoshu (速水御舟), evaluated as model Sinnangain Daisho era, or Sinnanga of Nihon Nanga-In which was stirred for overcoming Gunanga (舊南畵), concerning the style of artists from Western Painting revealed its limit that couldn’t overcome the fundamental contradiction of compromise between Southern Painting, a purely Oriental painting tradition, in other word, expression of idea and objective sketching element of Western tradition, as declared,“free groping but no escape from the realm of original Nanga”in the Statement of Creation.
Additionally, as being increasingly attached to salons, Sinnanga style they tried got tight, producing another standardized Southern Painting style, it is distinguished from Sinnanga style of painters from Western tradition and Japan Art Institute who showed creative works through various interpretations without being restricted by the traditional skills of Southern Painting.
Meanwhile, the tendency of various works called,‘Sinnanga’Daisho era seems that among many,‘Pastoral Style,’which was based on sketching, led by Nihon Nanga-In had been transplanted to colonial salons like Chosun Arts Exhibition. Presumably, this seems to be due to the colonial art policy and atmosphere of the time that encouraged mild style, replacing the aspect of ‘personality’with local color which emphasizes locality, nationality, rather than personalist expression of Nanga.
However, The discussion on the interconnection and the influence of painting style among the reformative landscape painting of sketching of Chosun Fine Arts Exhibition, Landscape Painting of Japanese Art Exhibitions, and Nihon Nanga-In needs to be closely examined through additional research.

영어초록

Nihon Nanga-In was projected by three persons, Mizuta Chikuho (水田竹圃, 1883-1958), Kono Syuson (河野秋邨, 1890-1987), and Mitsui Hanjan (三井飯山, 1880-1934) as a Nanga (南畵) research group of youth artists from Kyoto region in 1921. However, after that, it recruited Komuro Suiun (小室翠雲, 1874-1945), who was the chief person of Tokyo Nanga school and held exhibition once a year, 15 times total until 1936, except 1923 when Great Kanto Earthquake occurred, It had been used as a stage of Sinnanga presentations throughout whole country. Its foundation and operation was done by Komuro Suiun from Tokyo after the elder Nanga painters from Kansai(關西) region, initial participants in the establishment died, however people who led Sinnanga had Kyosaka (京阪) style, sketching mainly with dry paint and moist Indian ink of the youth artists of Kansai region around Mizuta Chikuho. Ink landscape paintings based on sketching which was born in the painting tradition of Maruyamasijo School (圓山四 條派) of Kansai region, absorbing theoretical contents of the Sinnanga Movement in Japanese painting circle in Daisho (大正) era, was also called ‘Pastoral style’and got standardized and fixed as Sinnanga of salon through festivals.
In contrast, artists from Kanto region including Komuro Suiun produced different independent works adding sketching element, regardless of mastersuccessor relationship, without showing characteristics of school, like Shirokura Niho(白倉二峰), Kiminashi Hyakushoko (岸浪百草居), but different from brushing style and feeling of Kansai painters.
However, until the early 1920s, Nihon Nanga- In’s landscape paintings which had been produced weighing on sketch had been changed to allusive and expressive works during the mid and late 1920s Yano Kyoson (矢野橋村), Yano Tetzujan (矢野鐵山), Mizuta Genjan (水田硯山), their studied works of Personalist painters in the late Ming and early Ching era maximize the effect of Indian ink, that is, Jeokmuk (積墨) under the name of drawing ideal scene based on ‘inner awakening’ beyond actual scene, compared to Expressionism of the West such as Shitao (石濤) and Gong Xian ( 賢).
This thesis examined this categorizing as an Expressionist Southern Painting, contrasted to reformative landscape paintings. In addition, it pointed out that non-Southern Painters like Mizkoshi Syonan (水 越松南), Yamaguchi Hachikushi (山口八九子) who tried to achieve ‘the attitude of free playing spirit of scholar’ putting artist personality to the fore through their works, showed cheerful and wild works unlike the ones of Nanga with expressive tendency.
However, Japanese painting school artists like Imamura Shiko (今村紫紅), Hayami Gyoshu (速水御舟), evaluated as model Sinnangain Daisho era, or Sinnanga of Nihon Nanga-In which was stirred for overcoming Gunanga (舊南畵), concerning the style of artists from Western Painting revealed its limit that couldn’t overcome the fundamental contradiction of compromise between Southern Painting, a purely Oriental painting tradition, in other word, expression of idea and objective sketching element of Western tradition, as declared,“free groping but no escape from the realm of original Nanga”in the Statement of Creation.
Additionally, as being increasingly attached to salons, Sinnanga style they tried got tight, producing another standardized Southern Painting style, it is distinguished from Sinnanga style of painters from Western tradition and Japan Art Institute who showed creative works through various interpretations without being restricted by the traditional skills of Southern Painting.
Meanwhile, the tendency of various works called,‘Sinnanga’Daisho era seems that among many,‘Pastoral Style,’which was based on sketching, led by Nihon Nanga-In had been transplanted to colonial salons like Chosun Arts Exhibition. Presumably, this seems to be due to the colonial art policy and atmosphere of the time that encouraged mild style, replacing the aspect of ‘personality’with local color which emphasizes locality, nationality, rather than personalist expression of Nanga.
However, The discussion on the interconnection and the influence of painting style among the reformative landscape painting of sketching of Chosun Fine Arts Exhibition, Landscape Painting of Japanese Art Exhibitions, and Nihon Nanga-In needs to be closely examined through additional research.

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