정재(靜齋) 오일영(吳一英, 1890-1960)의 행적과 회화–일제 강점기의 창작 활동을 중심으로–

Abstract

In the early 20th century, oriental paintings that embraced new types of formativeness from the standpoint of combining Eastern techniques and Western tools began to spread in the traditional art circles. However, there were still some painters who maintained the traditional methodologies in their work. Oh Il-Young (1890-1960), art name Jeong-Jae, was one of such figures. Oh Il-Young mainly attempted to realize the unity of poetry, calligraphy, and painting by inheriting the material and style of calligraphy and those of painting as well as the form of painting poetry bequeathed from the past. Oh Il-Young studied painting at Seohwa Misulhoe (Calligraphy and Painting Art Association) – one of the representative art education institutions during the modern era – and worked actively as a member of Seohwa Hyeophoe(Calligraphy and Painting Association). He also participated in the creation of royal tribute paintings, including the royally-commissioned buttress paintings in the Changdeok Palace. In particular, Oh Il-Young was profoundly influenced by Ahn Jung-Sik, a professor at Seohwa Misulhoe. While the fellow artists of Seohwa Misulhoe and other contemporarily active painters wanted to explore a new style and form of oriental painting, Oh Il-Young persisted throughout his entire life in inheriting his master's style and insisted on only 'traditional' approaches wherein poetry, calligraphy, and painting coexisted. Also, upon drawing a picture, Oh Il-Young always wrote coordinating painting poetry into it regardless of its orderer, material, etc. For Oh Il-Young, painting poetry was a way of implementing the accord of three perfections in poetry, calligraphy, and painting – the long-standing forms of East Asian painting – as well as a tradition of confirming his own artist identity.