20세기 대구 전통화단 器皿折枝畫의 전개와 표현 양상

Abstract

Gimyeong cheolji-hwa was begun by Jang Seung-eop in the late 19th century, and till the beginning of the 20th century it became popular only among limited category of artists in Seoul. On the other hand, Gimyeong cheolji-hwa in Daegu had started to appear in 1910's and it was painted continuously till 1990's. The Daegu artists in the world of traditional paintings in modern period mainly painted the four gracious plants and they mostly combined Gimyeong cheolji-hwa. The main artists who conduced to this phenomena are Seokjae Seo Byeong-oh(石齋 徐丙五, 1862~1936), Geungseok Kim Jin-man(肯石 金 鎭萬, 1876~1933), Juknong Seo Dong-gyun(竹儂 徐東均, 1903~1978). Seo Byeong-oh introduced Gimyeong cheolji-hwa to Daegu artists' group in traditional ink painting with written meaning style in the 1910's, and his pupil Kim Jin-man settled down Gimyeong cheolji-hwa among the Daegu artists' group by painting a lot of Gimyeong cheolji-hwa between the 1920's and the 1930's. Unlike Seo Byeong-oh's crude calligraphic handwriting, Kim Jin-man painted Gimyeong cheolji-hwa with descriptive and composing skill of a picture. The two masters of modern Daegu painting and calligraphy work group, Seo Byeong-oh and Kim Jin-man were considered to be the cause of Gimyeong cheolji-hwa being painted continuously among the Daegu traditional artists' group with the following reasons; combining the painting four gracious plants and Gimyeong cheolji-hwa, deploying their Gimyeong cheolji-hwa in traditional ink painting with literary artist's style, and their paintings, which were distributed in the area, playing a role of a sketch. In addition, the cultural atmosphere of Daegu which they cherish the mood of stationary that Gimyeong cheolji-hwa expresses might have acted as a background and it might have been a role of supplement simplicity of the traditional artists' group who mainly painted the four gracious plants. Seo Dong-gyun, who's a pupil of Seo Byeong-oh was very active in modern and contemporary times from the 1930's till the 1970's, and he had the greatest influence on Gimyeong cheolji-hwa by the traditional Daegu artists' group. Seo Dong-gyun seeking for a new way of expression, he compromised between ink painting technique and coloring technique, and between line drawing and contrast. He also newly established Gimyeong cheolji-hwa as modern art work making use of auspicious subject matter. Artists who painted Gimyeong cheolji-hwa in Daegu were Huijae Hwang Gi-sik(羲齋 黃基式, 1905~1972), Geungnong Im Gi-soon(肯農 任璣淳, 1912~1994), Haejeong Hong Soon-lok(海亭 洪淳鹿, 1916~1983) and so on. Gimyeong cheolji-hwa by the artists' group in Daegu was deployed in literary artist's style through modern times and it was continuously painted by the four gracious plants' painters in the area till the 1990's. Gimyeong cheolji-hwa, which was almost disappeared in Seoul in the 1930's, was continued its vitality throughout the 20th century in Daegu. Gimyeong cheolji-hwa by the Daegu artists' group was expanded and deepened traditional painting in modern times, and so that it has significant meaning to modern and comtemporary art history in Korea, and at the same time it is noted that the regional characteristics is evident.