오원 장승업― 작가적 위상 정립과 평가의 궤적

Abstract

The purpose of this study is to thoroughly contemplate how the fame of Jang, Seung-eob, the painter who was at the finale of the art world of late Chosŏn period, was established and evaluated for 100 years after his death. Although he did not receive any official education in painting, Jang, Seung-eob showed his genius as a talented painter in all genres including landscape, flowers and birds, birds and animals, portraits, and flowers and fruits with dishes; he influenced Ahn, Jung-sik, and is understood to have affected the establishment of the art tradition of Korean modern art world. Thus, this paper examines the modern and contemporary documents on Jang, Seung-eob, examines the awareness about Jang, Seung-eob today, and inspects the evaluation and change of artwork by Jang, Seung-eob. First, this paper observed that Jang, Seung-eob, from Indong Jangs, developed into a painter by sponsorship from Chinese interpreters, and his life as a painter recorded by his supporters including Jang, Ji-yeon, Choi, Nam-seon, and Oh, Se-chang. Another notable point is that Kim, Yong-jun, who searched for the future of Chosŏn painting through traditional painting, had rediscovered Jang, Seung-eob. After the liberation of Korea, the myth as a genius painter full of artistic spirit had been repeatedly produced; through the insight of Oh, Se-chang, several special exhibitions were held in Gansong Art Museum, where the foundation of his collection was laid, and his fame as a master was consolidated even further. On the other hand, evaluation on Jang, Seung-eob was actually observed to go through much changes in the long period of time. Lead by Oh, Se-chang, the records of early modern period considered the flowers and fruits with dishes paintings as paintings that were drawn upon request, while relatively giving higher value to the landscape and portrait which were meticulously descriptive. However, after the liberation of Korea, the landscape and figure painting from old stories were gradually compared to the 'Chosŏn Style' painting methods by Jeong, Seon and Kim, Hong-do, and were considered Chinese-oriented, recursive to tradition, and mannerist. Thus, it seems that the tendency of today's academia is to evaluate Jang, Seung-eob as only the progenitor of 'Oh Won Painting Group.' This is not only due to the problem of his painting style and status represented by the Chinese style of meticulous landscape and magnanimous flowers and fruits with dishes; but also due to the accumulated problems of life history formed from oral tradition upon oral tradition, the fame as a master that surpasses the evaluation on his works, and the difficult authenticity that rises from his love of alcohol, eccentricity, and signature by deputies due to his illiteracy.