20세기 초 李王家 관련 金剛山圖 硏究 (A Study on Paintings of Mount Kumgang for the Yi Royal-Family)

서지정보

· 발행기관 : 한국미술사학회
· 수록지 정보 : 미술사학연구 / 271272권 / 271272호 / 205 ~ 236페이지
· 저자명 : 이영수

초록

이 논문은 金圭鎭(1868-1933)의 昌德宮 熙政堂 벽화와 동아대학교 박물관 소장 나전가구에 시문된李道榮(1884-1933)의 金剛山圖를 대상으로 20세기 초 왕실에서 금강산도를 수용하게 된 배경 및 왕실에 수용된 금강산도의 특징을 고찰한 것이다.
일제강점기에 금강산은 두 가지 상반된 의미를 지니고 있었다. 조선을 합병한 일제는 적극적인 금강산관광정책을 통해 조선이 新帝國의 일부임을 전 세계에 인식시키고자 했다. 그러나 조선인들에게 금강산은민족혼의 상징이라는 사상이 대두되었다. 昌德宮 熙政堂에 금강산도가 부착된 1920년은 3·1 운동이 발발한바로 다음해로서 민족적 기운이 어느 때 보다 창궐한 때였다. 그러한 상황에서 궁중 벽화의 주제로 금강산도가 채택된 것은 단순한 일제의 의도 외에 금강산이 지녔던 민족적 상징성과 대외적 효과를 인식한 이왕가의 입장이 적극 반영되었을 것으로 보인다. 이는 3·1 운동 이후 무단 통치에서 문화 통치로 선회한 일제의 통치 전략은 물론 금강산 관광 정책을 적극 계획하고 있던 일제의 의도와 맞물리면서 일제의 특별한 간섭 없이진행되었던 것으로 추정된다.
20세기 초, 이왕가의 후원을 받은 김규진의 창덕궁 희정당 벽화는 직접적인 사생과 사진을 바탕으로근대적 사실성이 반영된 금강산도의 새로운 면모를 창출해냈다. 본고에서는 매일신보에 연재되었던 그의 기행문과 스케치들, 그리고 당시 간행된 금강산 사진과의 관계 속에서 작가가 이루어낸 독자적인 영역을 살펴보았다.
왕실용으로 전해져온 동아대학교 박물관 소장 나전 의걸이장과 침대는 나전공 김진갑(1900-1972)이1930년대 후반경 제작한 것으로 추정된다. 이 가구에 시문된 금강산도에는 관재 이도영의 호가 명시되어 있어 회화사적으로도 매우 주목된다. 나전의걸이장에 시문된 <금강산 구룡연>과 <만물상 삼선암>은 이도영의 목판화에 보이는 각진 칼맛의 특징을 반영하고 있다. 나전침대에 시문된 <금강산 만물상>과 <해금강입석의 송도>는 반대로 부드러운 선과 세밀한 묘사를 특징으로 함으로써 조선미술전람회에 출품된 일본풍의 금강산 그림들 및 1930년대 선전 공예부에 유행했던 금강산도 문양들과 깊은 관련성을 지닌다.

영어초록

In the early 20th century, images of Kumgang Mountains made their appearance in paintings and craft items for the royal-family of Yi, following Japan’s annexation of Joseon.
This paper examines the Kumgang Mountains landscape mural painting in Huijeong Hall(熙政堂) of Changdeok Palace(昌德宮) by Kim Kyujin(金圭鎭, 1868-1933) and landscape paintings by Yi Doyoung(李道榮, 1884-1933), transposed onto the mother-of-pearl lacquer-ware furniture in the collection of the Dong-a University Museum. The purpose of this paper is to seek for the significance of the Kumgang Mountains landscape theme for the historical context at that time and how this traditional landscape theme was rendered during this period of transition.
During the Japanese colonial rule, the Kumgang Mountains held two opposite significances for Korean people. Upon the annexation of Joseon, the Japanese colonial administration actively promoted tourism in the Kumgang Mountains in a bid to show to the outside world that the country was now part of the empire of Japan. For Korean people, on the other hand, the Kumgang Mountains took on an increasing significance as a symbol of national spirit.
In 1920, after one year from the March 1st Independence Movement of 1919, the Kumgang Mountains landscape paintings were placed on the wall of Huijeong Hall ofChangdeok Palace. The choice of the Kumgang Mountains landscape for a palace mural at a time cannot be a pure accident, especially when there was a renewed patriotic fervor among Korean people. Even though the decision was made by the colonial administration,the Yi royal-family had intention in this matter. The royal house must, therefore, have been aware of the symbolic importance of Kumgang Mountains for Korean people and how it could effectively embody Korea’s national spirit before the international community. It was, meanwhile, possible for this painting to become prominently displayed in Changdeok Palace, in part thanks to the so-called cultural policy adopted by the colonial administration in the wake of the March 1st Independence Movement; an event that spelled the end of the iron-fisted militaristic rule of Josen.
This painting was created under the patronage of the royal house. Kim Kyujin personally traveled to the Kumgang Mountains and painted the landscape based on the sketches he made and photographs of Mount Kumgang from other sources. The resulting painting, modern and realistic, was quite distinct from other landscape works on this mountain from previous eras. In this paper I have explored the original stlye of Kim Kyujin on his mural paintings, by examining his travel essays and sketches appeared in the Maeil Shinbo(每日申報) and comparing them with photographs of the Kumgang Mountains published around this time.
The two royal house furnishing items in the collection of the Dong-a University Museum, namely, the mother-of-pearl lacquer wardrobe and bed, are believed to have been made sometime in the late 1930s by an artisan Kim Jingap 金鎭甲(1900-1972). The Kumgang Mountain landscapes on the surface of these two pieces of furniture bear the signature of Yi Doyoung, which makes them valuable resources in studying his artistic style.
The images of the Guryong Waterfall(九龍淵) and Samseon Rocks(三仙岩) on the wardrobe, in mother-of-pearl mosaic, are evocative of Yi Doyoung’s woodblock print works,in its abrupt lines and angles, as though created by a carving knife. Meanwhile, the images of the Manmulsang(萬物相) and the view of Pine tree Island(松島) in Haegeumgang Ip-seok(海金剛 立石), found on the bed frame, are in gently-curved lines and have meticulous details. This style is reminiscent of Japanese-style landscape paintings on the Kumgang Mountains that were presented in the Joseon Art Exhibition. These images are also similar to the KumgangMountains landscape motifs popularly seen in craft items displayed in the same Exhibition during the 1930s. The landscape images on the mother-of-pearl wardrobe are simpler than those on the bed frame, but echo more directly the style of Yi Doyoung. The images of the Kumgang Mountains on the mother-of-pearl bed frame also display a strong Japanese influence, unlike those on the wardrobe.

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