서화가 金圭鎭의 작품 활동과 수입

Abstract

The calligraphic painting market of Korea began to be formed since the late 19th century, How full-time Korean calligraphic painters could exist and support themselves on the basis of the market has continuously attracted much attention and become the main theme of lots of researches. As one of the researches, this study has the purpose of determining whether and how Kim Gyun Jin could support himself, or financially independent, as a full-time Korean calligraphic painter by examining his painting activities and income. In other words, this study focuses on the existence and self-support of Korean calligraphic painters in the early 20th century, Determining how those painters existed and supported themselves is not only very interesting, but also very important in understanding Korea's histories of literature, art and society. Especially, this study is very substantial and quantitative because it approach such existence and self-suports as mentioned above in a very direct, acute way, or in terms of income from calligraphic painting. How much Kim Gyu Jin was active as a full-time Korean calligraphic painter can be found in 『Haegang Ilgi』, a diary that the painter wrote from June 1921 to December 1923. Touring around Korea, Kim Gyu Jin held calligraphic painting and handwriting exhibitions where he charged spectators and sold his works to them. In addition, he received painting orders from around the country and, accordingly, made calligraphic paintings. His painting activities for 2 and a half years and income he earned during the same period clearly demonstrate that he firmly established himself as a full-time Korean calligraphic painter. However, there's a question left to be discussed, that is, whether other Korean calligraphic painters made painting activities as many as Kim Gyu Jin's and earned income as much as his. This needs to be surely determined later.