한국 근대서예 연구(3) − 1920년대 전반기의 서예(1919-1924) −

Abstract

In this study, I examined the reality of Korean modern calligraphy from the March 1st Independence Movement until 1924, when the Joseon Art Exhibition held by Japan as a means of cultural politics was firmly settled, and diagnosed its problems. As a result of examining the ideological background of the times, the cultural movement aimed at establishing capitalist civilization, and as it progressed, the meaning of this movement was mental reform and national reforms. It is a development of the Korean national inferiority theory that the Japanese have been advocating since the end of the Joseon Dynasty and the practice reform that Joseon's new intellectuals have been talking about. In this way, the cultural movement advocated independence after nurturing basic skills, but in reality, it boiled down to cultivating skills, that is, establishing capitalist civilization. Regarding theoretical activities, I analyzed the inaugural article of the 『Bulletin of the Calligraphy and Painting Association』 . Kim Myeong-sik argued for the theory that Eastern and Western civilizations are equal from the standpoint of taking advantage of China based on reality, and Kim Don-hee argued for the ideology of considering the new based on the old. Most of the people who wrote the inaugural article were pro-Japanese traitors. However, they were probably nationalists in that they tried to inherit national culture and might be pro-Japanese due to their implicit cooperation with the Japanese Government General's project. It may be the point where we can understand their identity and view of calligraphy and painting. Calligraphy education institutions were academies affiliated with associations, research societies, or private institutes. Calligraphy and painting education institutions with business goals did not last long. They degenerated into a means to win the Joseon Art Exhibition or were closed down due to economic difficulties or internal conflicts. Most of the private institutes were established for profit, but some were modern, and some contributed to the development of local culture. Regardless of who founded it, pro-Japanese aristocrats were involved, and I wonder if they should have been involved in fine arts education activities as well. The exhibition era arrived in the early 1920s. The Exhibition of the Calligraphy and Painting Association, which started with concern and encouragement, also published a bulletin, albeit a brief one. At the time, the media requested that the Calligraphy and Painting Association capture ethnicity as an ethnic group. However, as years went by, the media gradually moved away from the Exhibition of the Calligraphy and Painting Association, and the members began to focus on the Joseon Art Exhibition that brought them money and fame. The Joseon Art Exhibition held by the Japanese Empire became a great tool for colonial cultural policy. Renowned calligraphers from all over the country applied, and the number of participants gradually increased. The center of the field of Joseon Calligraphy began to fall into the hands of the Japanese Government-General. I hope this study will help understand Korean modern calligraphy during the so-called cultural policy implementation period. Furthermore, I hope that it will help find a way forward for Korean traditional calligraphy, which is gradually losing its luster.