1920년 창덕궁 벽화 조성에 대한 연구

Abstract

The wall-paintings in Changdeokgung Heejeongdang, Daejojeon, and Kyunghungak were painted in 1920, which are the Korea's last decorative paintings. When King Soon-Jong was isolated in Changdeokgung Palace, his life took place only in the area of Heejeongdang and Daejojeon. It says that the wall-painting which is decorated in the place where western-style facilities and furnitures are arranged, is 'for Soon-Jong.' As the last emperor of Chosun, Soon-Jong used his place to meet royal audiences and have his personal life, instead of discussing politics with ministers. The wall-painting in Heejeongdang is painted horizontally by Gyu-jin Kim. With his with stirring formation and sophisticated techniques, he was able to depict a new atmosphere of Mt. Kumgang. Mt. Kumgang was not a traditional subject that was covered in the palace. Considering the appearance of Manpokdong Valley on the third exam, which was a question presented by the King, it is raised that there was a special order of King Go-Jong. Therefore, under the circumstances that the subject was not generally painted in the palace, that is why Gyu-jin Kim's two paintings of Mt. Kumgang are known as drawings after the King's order. Two paintings in Kyunghungak are known as landscapes. Although mountain wizards are appearing in both of the paintings, it signifies longevity meanings and praises traditional virtues of the king of ‘Chunboguyu’. Since the actual role of the king had no longer existed, and only a symbolic presence maintained during that period, certainly Chunboguyu painting could be understood as the signification of an old traditional follow suit. It was chosen as a subject that should exist in the palace. Nevertheless, as it was placed in the queen’s resting area, it is possible to realize that Korea was under colonial situations, when the principles were destructed. Besides of representing noble and long-living animals, the phoenix and white crane paintings in Daejojeon were also used as traditional subjects which praised the king’s virtues. Even though each of the paintings may weakened the meanings of the sun and the moon, they formed the meaning of the Five peaks Screen by pairing functions such as the sun, moon, water and falls, pine trees in the entire picture. However, from the expression of lilies and figure of the crane, it is easy to recognize the Japanese painting influences, which were introduced to the court during that stage. The artists who painted the wall-paintings studied traditional paintings and calligraphic works. Gyu-jin Kim experienced Ching and Japanese civilizations earlier, and younger generation artists from the Seowhamisulhyo studied under Joong-shik Ahn and Seok-jin Cho. The wall-paintings, which were painted after the masters’ death, created court styles of the beginning of the 20th century by assorting traditional icon and new trends. Nevertheless, common external and traditional landscapes and birds and animal paintings are maintaining the last pride of the Chosun royal family, as they were painted under the subjects that contains the king’s virtue. Since the young generation painters did not normally used deep-color pigment techniques, their wall-paintings are in between light-color pigment and deep-color pigment. Therefore, as how Ung-won Kim attempted, if the artists who drew Buddhist paintings and folk paintings by proficiently using the deep-color pigment had participated in the creation of the palace wall-painting, then possibly Changdeokgung Palace might have contained the 20th century’s essence of deep-color pigment, which is remaining as a regret.