차강 박기정 묵란화 연구

Abstract

This study examines the work of Chagang(此江) Park Gi-Jung(朴基正, 1874~1948), a Sagunja(四君子) painter and calligrapher active in the modern period. As a Sagunja painter, Park Gi-Jung specialized in painting plum blossoms, orchids, chrysanthemums, bamboos, Goeseok(oddly shaped stone, 怪石), and Gunja flowers and trees(君子花木). Although a considerable amount of Park's work is known to have been painted in Gangwon-do, there has been little research on his work. This study focuses on the orchid paintings among Park's Sagunja paintings. It first examines Park's early years as a Sagunja painter through his works from his teenage years, which are considered to be his earliest professional works. The process of Park Ki-Jung's development of his orchid painting style was examined through his early works and his later works in his 30s, 40s, 50s, and 60s. As a result, Park Ki-Jung experimented with different rocks as he improved his mastery of orchid paintings, looking for a suitable technique for his orchid paintings, and it is believed that by the time he reached his 60s, he had created his own Goeseok-ran(怪石蘭), a harmonious combination of orchids and oddly shaped stones. The 10-wide folding screen of <Goekseok-ran>, which is considered to be representative of Park's orchids, balances three elements: a towering oddly shaped stone, dynamic orchid leaves, and static writings for painting. A comparison of Park Ki-Jung's stones and orchids in his works with those of Lee Hae-Eung, Kim Eung-Won, Kim Gyu-Jin, and others, as well as with the Chung Hak-Kyo's Geoseok(怪石), reveals that Park Ki-Jung followed the tradition of drawing stones and orchids, which had been the mainstream of orchid picture since Lee Hae-Eung; secondly, he actively adopted the Chung Hak-Kyo's style of Goeseok(怪石) paintings to depict rocks; and thirdly, he did not embrace the practice of including the ground or water surface in orchid paintings. Instead of trying to overcome the conventionalization of Sagunja paintings by adding a background, Park stuck to the original symbolism of Sagunja, which is an art of symbolic meaning, by still painting stones and orchids in the margins. Park's works are full of folding screens, both paintings and writings, and there are also many orchid paintings. There are more than 10 examples of Park's orchid folding screens, in which entire screens are composed of only stones and orchids. Steady local patronage and demand allowed Park to continue his path of self-perfection. If the demand for expensive works of art indicates Park's economic foundation, his prolific output of large-scale folding screen paintings speaks to his artistic capabilities and fierce artist's consciousness. Park Ki-Jung's ability as a specialist in the art of Sagunja paintings is well demonstrated in his folding screen paintings, This thesis, the very first study of Park Ki-Jung's orchid paintings, will be an important part of understanding Park Ki-Jung's oeuvre and contribute to the establishment of modern regional art history. It will also provide a richer and more diverse understanding of the world of 20th-century Sagunja paintings in Korean art history.