'보편회화' 지향의 역사 - 20세기 전반기 동양화 개념의 형성 과 변모에 대하여

김경연

doi:10.46834/jkmcah.2019.12.38.33

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한국근현대미술사학회
한국근현대미술사학 학술저널
한국근현대미술사학 제38집
2019.12 33 - 57 (25page)
DOI : 10.46834/jkmcah.2019.12.38.33

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김경연 (명지대학교)

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초록·키워드

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Oriental painting, which was created as a genre of modern art symmetrical to western painting of the early 20th century, contains in its name the desire of calligraphers and painters in the modern transitional period to become a university entity. Under the circumstances of failing to construct a modern nation, painters wished to participate in the universal art world as part of paintings of a new civilization centered on Japan, or in other words, as part of Oriental painting. ‘Oriental painting’ was also given the role of succeeding traditional paintings and calligraphy. As Joseon/Korean art was divided not into ‘painting’ but ‘Oriental painting’ and ‘Western painting’, Oriental painting gained the contradicting identity of a "universal" painting containing national ‘uniqueness’, in other words, having to become both ‘special’ and ‘universal’. At this time, there were tendencies for the ‘Koreanity’ and ‘Oriental’ to overlap, thus having unclear borders.
Oriental painters recognized scientific realism of western painting as the universality of modern painting, and based on this, sought to transform into universal painting. Therefore, Japanese painting styles that used nature-derived realism and abundant colors contained two different meanings in that it was art of the colonial country, as well as the universal painting styles of modern times. Coming into the late 1930s, trends of exploring the possibility of ‘mental expression of artists’ without going beyond recreation of objects also began to appear. This can be said to be a different mode compared to western painters of Joseon in which Orientalism was spreading.
After liberation, the movement of reestablishing Oriental painting, which collapsed together with Japan’s defeat in the war, as Korean painting surfaced. This was carried out in a method that excluded the existence of ‘Japan’ that played the central role in the scope of the ‘orient’. In addition, the realism tendencies in the colonial period were criticized as remnants of the colonial period, and therefore, pre-modern Joseon and Chinese cultural paintings became the new universal traditions of Oriental painting.

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