해강 김규진 묵죽화와 『해강죽보(海岡竹譜)』 연구

Abstract

This study analyzes the painting style of the ink bamboo painting by “Haegang” Kim Gyujin and the Haegang Jukbo. Kim Gyujin became famous with his ink bamboo painting, and he greatly influenced Korean traditional painting in modern times through the administration of Association of Painting and Calligraphy(書畵硏究會). However, he had familiarized the various painting styles since the beginning of his early artwork; he was also a photographer, and was commercially interested in the distribution of painting and calligraphy. By mid-1910s, he had finally determined his life as a painter of orchid and bamboo. In this process, his 1914 work 〈Folding Screens of Bamboo and Stone〉, portraying the solemn Injeongjeon of Changdukgung Palace, and 1915 work 〈Folding Screens of Bamboo〉, dedicated by the Emperor Sunjong to the Japanese Emperor, are works during the time of his transformation as an ink bamboo painter and also the causes of his change. On his works afterwards, Gakpokbyeong[Folding Screens which composed of many paintings, 각폭병], each screen signed with different pen-name with various attempts at subject matters and composition, and large Folding Screens of Bamboo, in the style of Yeonpokbyeong[Folding Screens with sole painting as a whole, 연폭병] describing a bamboo forest, are presented as his representative forms. Additionally, an edition of Haegang Jukbo was examined to differentiate the first edition of 1916 and the edition of 1918. Until now the existence of the edition of 1918 was not known or was known as a re-printing and thus the editions of 1916 and 1918 were used interchangeably; however, the edition of 1918 is confirmed to be a different edition with different contents from the first edition of 1916, and this discovery served as an opportunity to fully understand the characteristics of the ink bamboo painting by Kim Gyujin.