20세기 초, 한국 서화의 매매와 유통 양상 -신문 광고와 기사를 통해 봄-

Abstract

The purpose of this study is to examine tendencies in the sale and distribution of Korean calligraphical paintings in the early 20th century. For the purpose, above all, this researcher looked through advertisements and articles about such sale and distribution that were published in newspapers of that time. The reason why the researcher chose to investigate such paper materials in empirical, multilateral ways is because there are few literature on the sale and distribution of Korean calligraphical paintings in the early 20th century and because newspapers are an empirical, effective source of information about social aspects that existed when the paper materials were published. In Korea, currently, art markets are prospering. Now in the country, anyone can easily sell or buy art works at anytime like selling or buying life commodities at markets. In Korea, art markets began to be formed in the early 20th century when the country began to be modernized. In the nation, it was impossible for the general public to meet art works until the late 19th century. Before this time, calligraphical painting was often called ‘literary painting. At that time, literally, calligraphical painting was just one of learned scholars’ leisure activities or a method of illustrating events of the court. Before the early 20th century, Korean calligraphical paintings were sold and distributed in so-called medieval ways. But since the early 20th century, such ways gave their way to a variety of modern ways. The advertisements and articles as reviewed here show that in the early 20th century, Korean calligraphical paintings were sold and distributed in various ways. First of all, paper goods stores and painting stores were played a role as a direct way of selling and distributing such calligraphical works around the country, This was closely associated with newspaper advertisements and payment based on postal money order. Meanwhile, Korean calligraphical paintings were sometimes customized. Next, another direct way of selling and distributing such paintings were art exhibitions and on-the-spot calligraphical painting events, where artists improvised calligraphical paintings and at the same time buyers purchased them. This way was popularly prevailed around the nation because it was directly accompanied by calligraphical painters. Meanwhile, Korean calligraphical paintings were sold and distributed in some direct ways as follows. First, some works of calligraphical painting and serial articles about such artistic genre were published in newspapers in order to increase people’s interest in calligraphical painting and ultimately promote selling and distributing works of that genre. Second, calligraphical painting research institutes and calligraphical painting instruction schools were opened to lead people directly experience such painting and accept it as one of their favorite tastes. This also aimed to promoting the selling and distribution of Korean calligraphical paintings. Third, books about calligraphical painting were published in order that people could obtain a knowledge about such painting for themselves even at home. The aim of this was same as foresaid. Fourth, finally, calligraphical painting became a curricular course of school. This contributed to popularizing such painting and further the selling and distributing of works of the genre.