20세기 초 전통적 서화관의 근대적 변용 (Modern Transformation of Traditional Perspective of Paintings and Calligraphy in the early 20th century)

서지정보

· 발행기관 : 한국서예학회
· 수록지 정보 : 서예학연구 / 36호 / 231 ~ 248페이지
· 저자명 : 전상모

초록

근대 한국서예는 역사적 격변을 거치면서도 무조건적인 서구화와 근대화를 추수하기보다는 당대와 전통 사이에 한국적 정체성을 모색해 왔다. 이는 넓은 의미에서 볼 때 그것은 한국 근대서화발전의 원동력이었다. 개항 이후 제국주의 시대가 도래하자, 근대적 문물수용의 욕구 속에서 서화인들은 東道西器와 文明開化論의 사유로 양자를 절충하고자 하였다. 이런 사유는 식민지 문화활동에 개입하게 되는 1920년대 이전까지 지속되었다. 이들 가운데 일부는 文明開化論에 입각하여 書畫文明論을 주장하였다. 그렇지만 그들 모두의 활동은 주로 구황실 및 이왕직의 후원 내지 관계 하에서 이루어졌다. 그래서 이들의 서화관이 동도서기의 사고방식에서 출발했든 문명개화론에 두었든 간에 일제의 식민지로서 급속히 文明開化가 진행되는 조건에서 반사적으로 전통계승의 가치를 강하게 인식한 것은 다름없다. 사회 역사의 조건에서 발생한 사상과 노선은 그에 가까이 다가선 이들의 미적활동에 영향을 끼친다. 이들을 인물들을 민족주의자로 볼 것인지 친일변절자로 간주할 것인지에 대해 논의가 분분하다. 이제는 과연 그러한 구분의 유의미성에 대해서도 생각할 때가 되었다. 이들이 민족전통을 계승하려고 했다는 점에서는 민족주의자라고 해야 할 것이오, 총독부의 사업에 암묵적으로 협력했다는 점에서 친일세력이라고 해야 할 것이다. 그럼에도 불구하고 그들은 민족전통을 계승하려는 강한 전통의식을 가지고 있었다는 점에서는 한가지이다. 그들은 왜 일제강점으로 이미 존재이유를 잃어버린 전통서화를 끌어안고 있을 수밖에 없었는가. 이들의 정체성과 서화관을 이해하는 지점은 바로 여기에 있을 것이다.

영어초록

Modern Korean calligraphy has sought a Korean identity between contemporary and traditional rather than unconditionally following westernization and modernization despite historical upheaval. In a broad sense, it was the driving force behind the development of modern Korean paintings and calligraphy. Since the port opening, the era of imperialism has arrived, and painters and calligraphers tried to compromise the thoughts of expressing Eastern Way in Western frames and the theory of cultural enlightenment in the desire to accept modern culture. This thought continued until the 1920s, when it became involved in colonial cultural activities. At the time, those who held this thought include Oh Sechang, Kim Donhee, Kim Myeongsik, Kim Yutak, and Kim Gyujin. In this study, the five people mentioned above were divided into two groups. One includes Oh Sechang, Kim Donhee, and Kim Myeongsik, and they maintained the perspective of paintings and calligraphy of accepting Western cultures and techniques with maintaining Eastern thought and system. The other includes Kim Yutak and Kim Gyujin, and they had the perspective of cultural enlightenment by paintings and calligraphy.
Oh Sechang’s theory expressed a strong sense of succession to the tradition in the fear that the traditional paintings and calligraphy of Joseon, which contained the spirit of our nation, would be lost under the Japanese colonial rule. Kim Myeongsik’s point of view was developed from the perspective of expressing Eastern Way in Western frame under the consciousness that Eastern culture was equal as Western civilization. Kim Donhee’s theory was thoroughly built on the basis of tradition, so he showed a modern attitude based on tradition but sensitive to the new. Kim Yutak’s perspective of cultural enlightenment by paintings and calligraphy was about removing bad habits through paintings and calligraphy and moving on to new habits to enjoy the status of world-class civilization. Kim Gyujin’s perspective of cultural enlightenment by paintings and calligraphy showed that paintings and calligraphy represented culture and the culture was the development of national power, which meant that the development of paintings and calligraphy was the national development. Coincidentally, all of them are the people who came together as the Paintings and Calligraphy Association which was established for the purpose of “developing both new and old paintings and calligraphy, researching East-West art, and nurturing younger generation”.
Some of them claimed the theory of cultural enlightenment by paintings and calligraphy. However, the activities of all of them were mainly under the auspices of the imperial family or the office of Lee Dynasty. Therefore, whether their perspective of paintings and calligraphy started from the thought of expressing Eastern Way in Western frame or based on the theory of cultural enlightenment, it is the fact that they strongly perceived the value of traditional succession as a colony of Japanese imperialism. The thoughts arising from the conditions of social history influence the aesthetic activities of those who are close to the conditions. There is much debate over whether to see them as nationalists or as pro-Japanese apostasy. Now is the time to think about the significance of that distinction. They could be called nationalists in that they tried to succeed the national tradition, and pro-Japanese group in that they tacitly cooperated with the Japanese Government General of Korea. Nevertheless, they had a strong traditional consciousness to inherit the national tradition. Why did they have no choice but to embrace the traditional paintings and calligraphy that had already lost their reason for existence due to Japanese imperial strength? The point of understanding their identity and perspective of paintings and calligraphy might be here.

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