한･일 근대 ‘사실화’ 정착의 비교 - 몽롱체 화풍과 이상범･변관식의 조선미전 화풍을 중심으로-

Abstract

The purpose of this research is to compare and analyze how the core Korean-Japanese traditional landscape artists pursued "realism" mainly in the modern era at the junction of foreign and Korea-Japan culture. In Japan, western style painting of the Edo period in the middle of the eighteenth century progressed to the Moro style before and after the nineteenth century, while the Korean Chosun Art Exhibition of 1922 ignited a distinct style-transformation of the great masters, Yi Sang-bom and Byon Gwan-sik. In those days Japanese western studies and natural history from the Edo period to the early Meiji era boosted the creation of unique, realistic styles like the Edo trend and the Takahashi-Uyichi style, called "the Focused Realism,"which was the expression of depicting objects morespecifically and realistically. Meanwhile, before and after the nineteenth century, Japanese artists who studied abroad introduced a new expression of a western trend, called "the Plein-Air Painting,"to Japanese traditional landscape painting. This style made them try to depict objects in the natural light and the open air. Then, Japanese artists came to develop their new expression of coloring actual space based on the anti-drawing method. Hence, Japanese notable features in the new expression would include not only the negative view of the core traditional methods, including drawing objects and leaving white marginal space, but also arguments in favor of advocating superiority of the new through critical comparison between the two. However, when both "Japanese painting" and "Western painting"simultaneously came into Korea under the rule of Japanese imperialism, the introduction of "Western painting" and transformation of "Korean painting"developed independently at the same period of time. Since the Chosun Art Exhibition Era, which was the predominant period of the realistic trend, Yi Sang-bom and Byon Gwan-sik pushed their way aggressively towards the early stage of realism in the 1920s when they developed "the Individual Realism," which was the expression of depicting objects countable. It was transformed in the 1930s to "the Extensive Realism," which was the expression of portraying scenery extensively with the traditional approach of concentration on space. Thus, Yi Sang-bom and Byon Gwan-sik’s notable features in the new expression would include not only the persistence of the traditional techniques and methods like drawing outlines with black ink, but also the pursuit of realistic expression like view and objects. As such, the difference between the Korean-Japanese approach towards developing new expressions was that Japanese artists would take an aggressive approach towards acceptance of foreign culture and create completely new styles with the exact disconnection of the traditional method, while Yi Sang-bom and Byon Gwan-sik would seek to continue the value of the traditionalism and move forward to the modern era with redefining it.