일제강점기 금강산 여행을 기록하는 방식 — 青田 李象範의 ≪金剛十二勝≫을 중심으로 —

Abstract

Geumgangsan Mountain was a famous mountain in East Asia that everyone wanted to visit. Our ancestors visited Mt. Geumgang in person and recorded their experiences in various writings and pictures. However, since the Japanese colonial period, the place and meaning of Mt. Geumgang have changed. Rather than a ‘peninsula’ area that one passes through on the way from the ‘archipelago’ to the ‘continent’, it was recognized as a ‘scenic view worthy of being presented globally.’ As travel to Mt. Geumgang became active for the purpose of tourism and propaganda based on colonial tourism, a variety of related visual works were also produced. Lee Sang-beom also drew a picture of Mt. Geumgang. He perfectly mastered the brush and ink techniques of the ‘calligraphy and painting’ era, and left behind unique travel history paintings, opening the ‘Oriental painting’ era. The career of the 『Dong-A Ilbo』 art reporter played a significant role in these changes. the four seasons that depicts the scenery of Mt. Geumgang in hyper-reality based on elements of Western landscape paintings and photography techniques via Japan. Lee Sang-beom devised a unique style and format to complete a ‘mixed’ picture of Mt. Geumgang that reflects history and place. I think this is Lee Sang-beom's way of recording his trip to Mt. Geumgang and the art historical significance of the ≪12 Views of Geumgang≫ folding screen.