한국 근대서예 연구(2) - 1910년대의 서예(1910-1918) -

Abstract

This study analyzed how painters and calligraphers in the 1910s, when national sovereignty was lost by the Japanese Empire, responded against the colonial assimilation cultural policy of Japanese imperialism. The Japanese Empire implemented several policies to reorganize the colonial culture from the viewpoint of assimilationism. At this time, the claim to preserve national culture was opposed to assimilationism, but they were far from a direct movement for independence. In addition, the campaign for preserving traditional classics and national culture emphasized the cultural and spiritual capabilities of the nation for civilization while maintaining cultural identity. Regarding the acceptance of Western studies, people insisted on the social utility of calligraphy and painting or the civilization of calligraphy and painting by putting the eastern Way in the western bowl. However, no matter how great the idea is, if it is an act of betrayal of the country, we had to reassess it. When everyone else followed the theory of social utility or cultural civilization, Oh Se-chang presented the theory of national culture. Considering the reality of losing national sovereignty worths thinking again. In this study, I divided the movements of calligraphers at the time into the activities of national figures centered on Oh Sechang and pro-Japanese figures centered on Lee Wanyong. As a result, among the national figures, some people had pro-Japanese activities as well, and some people had ties with the national figures in the pro-Japanese group, so the two groups were working with each other. Educational institutions were gradually modernizing. Early schools were in the transitional stage of being transformed into modern educational institutions, and the classes of regular schools were only a facade. The Art Association of Calligraphy and Painting, the first private educational institution, was the result of the plans of the Japanese Government-General of Korea, the Royal family of Lee, and Lee Wanyong. Since then, private educational institutions have existed only for personal advancement and were far from promoting national culture. During this period, various exhibitions and fairs were used as a means of Japanese colonial rule, and the Art Association of Calligraphy and Painting sponsored by the Japanese Government General and the royal family of Lee became the center. Participation in the Changdeokgung Palace Calligraphy and Painting Competition and the Joseon Product Exhibition are typical examples. The <Contest of Poetry, Literature, Calligraphy, and Painting> seemed to aim at preserving national culture, but it was far from the national spirit because the Japanese Government General of Korea financially sponsored it. However, it was unprecedented that calligraphy and paintings were opened and sold to the general public through exhibitions, and the public enthusiastically responded to them. In addition, what we need to remember about this period is the fact that the Calligraphy and Painting Association, a purely national calligraphy and painting organization, was formed without the help of the Royal Family or the Japanese Government General of Korea. The analysis above will be helpful for a comprehensive understanding of Korean modern calligraphy in the 1910s. Furthermore, I hope that this study will serve as a foundation for the development of Korean modern and contemporary calligraphy.