Research scope of this article is restricted on early pieces in which Oh, Jiho(吳之湖, 1905∼1982) developed the concept of the ‘Joseon Local Color’ around the 1930s. The method of this article is to examine various perspectives which have bee... Research scope of this article is restricted on early pieces in which Oh, Jiho(吳之湖, 1905∼1982) developed the concept of the ‘Joseon Local Color’ around the 1930s. The method of this article is to examine various perspectives which have been opined throughout prior researches, and to analyze Oh, Jiho‘s pieces in the 1930s and formative theory by substituting issues raised by earlier researchers. Also this article examines formative theory of Kim, Jookyung(金周經, 1902∼1981) and Yoon, Heesun(尹喜淳, 1902∼1947) who were performing at the same period, and studies prior studies in late 20th century with formative aspects and political aspects. As debates of the earlier researches, this article studies concepts of ’local color’; which has been a keyword to assess Oh Jiho‘s pieces; and issues raised so far. Yoon, Heesun, who was an art theorist on arts of art theorist on early arts Joseon dynasty, described ’ethnicity of Joseon’ importantly in his book, 『Study on Art History of Joseon』(first edition in 1946). There have been many debates on local color on academical aspects since early 20th century. This article would study books and articles like 『Modernity and Theory of Tradition』(Hye-An Press, 2014) and 「Local Color of Joseon in the Japanese Colonial Period」(Korean Modern and Contemporary Art History Academy, 1996) by Park, Gyeri who focused on political context related to popular art discourse(Chapter I). If we look into a number of issues about debates on the local color in the 1930s, the subjects; which made resistance against Joseon Art Exhibition(朝鮮美術展覽會, 1922-1944) serious; were Korean painters who had studied in Japan. These painters consisted of two groups, one that contended purism and were concerned with aesthetic virtues; and the other that contended virtue of local color of Joseon for Proletariat and peasants from viewpoints of Socialism. Park, Gyeri explained relationship between European socialism in 19c and the local color as the origin of local color. Local color is a term which originated from local art, ‘Heimatkunst’; and was used in Japanese literacy cycle in 1906 before imported in Korea during the Japanese colonial period. Also the local color of Joseon was debated in controversies over local art theory with KAPF; and Park, Gyeri saw pursuing local color was progressed within big boundary of pure fine arts due to regress of skills of Artists who advocated Pro Art Theory(Proletariat Art Theory). Jeon, Miryeok, who advocated Pro Art Theory in 1930s, was well aware of main flow of the Art World of Joseon and analyzed Oh, Jiho as his line which emphasized the Joseon’s scenary of ethnic tendency and oriental spirit. The art world in the 1920s emphasized the concept of local color of Joseon with Japanese colonial perspective. The ethnic materials and exotic styles were highlighted as judging standard of Joseon Art Exhibition. Yoon, Heesun of this age criticized the judging standard of Joseon Art Exhibition as ‘narrow-minded concept of local color’. And Park, Gyeri saw the part which highlighted the color usage of Oh, Jiho’s legacy, and the pictures of Shim, Youngseop(沈英燮, Unknown) and Kim, Yongjoon(金瑢俊, 1904∼1967) whose pictures included romantic and pastoral scenery of rural area by the style of naturalism as the judging standard of Joseon Art Exhibition. This article focused on effects from Pleinairisme, the main stream of Japanese Academism during Oh, Jiho‘s academic stay in Japan, as well as effects from his master Fujishima Takeji(藤島武二, 1867.10.15.∼1943.3.19.). This article analyzes process of changes of his drawing style. His style was changed from style of academic tendency, which was seen in his earlier pieces from 1926 to 1928, to style after 3rd grade of Tokyo Art School with regular oil-painting-lessons from Fujishima Takeji. After Oh, Jiho of this age realized that the natural environment of Japan was projected into his works, he started various tone tests. As the result of his tests, Oh, Jiho’s <Country Girl> showed change of different style from Fujishima Takeji. After his graduation of Tokyo Art School in 1931, he came back to Joseon and tried to get away from the style of his master, and to find local color of his homeland in earnest(Chapter II). To know Oh, Jiho‘s position in the Joseon Art Cycle, we need to understand overall trend of the Joseon Art Cycle in 1930s. At that time, there were co-existing groups of painters; one group of painters that used academic style, ethnic materials and exotic styles to meet the judging standard of Joseon Art Exhibition, and the other group of painters that pursued the concept of local color independently, by refusing to join Joseon Art Exhibition because of opposition against the standard of Joseon Art Exhibition. As examples of the former group, this article analyzes the Lee, Youngil’s(李英一, 1903∼1984) oriental painting, <Country Girl>(in 1928); and Lee, Inseoung’s(李仁星, 1912.8.29.∼1950.11.4.) western painting, <One Autumn Day>(1934). The two painters above were both awarded by Joseon Art Exhibition in the 1930s, influenced by Japanese Pleinairisme during their academic stay in Japan, and knew the judging standard of Joseon Art Exhibition. The Joseon Art Cycle in the 1930 and Joseon Art Exhibition couldn’t get away from academism distributed by students who had studied in Japan; and the judging standard of Joseon Art Exhibition made it hard to find painters with exceptional formative spirit and skill due to its limit of materials. Also there was ongoing debate that painters should establish identity of local color of Joseon and change it to the form which met our sensitivity. Kim, Yongjoon was a founding member of「Rokhyang Association」(綠鄕會) and he advocated Joseonese modernism of oriental spirit. And Shim, Youngseop emphasized Aseanism and expressionism. Both Kim Yongjoon and Shim Youngseop belonged to groups of painters that refused to join Joseon Art Exhibition. They progressed formative ideology about local color of Joseon. In the meantime, Oh, Jiho expressed concept that painters in Joseon should find local color of Joseon which differentiates it from Japan by using nature of Joseon as materials of paintings. Publishing of the『 Oh, Jiho · Kim, Jookyung A Collection of paintings by two artists (二人畵集)』(1938, Han Seoung book corporation) was a fruit of this effort in early stage. After publishing the book, the work that shows Oh, Jiho‘s concept of local color in earnest was <Namhyangjip>(A house facing south)(1939) (Chapter III). This article compares the work to general tendency of prize-winning pieces by Joseon Art Exhibition. By the comparison, we could specifically understand features of expression methods that Oh, Jiho pursued. <Namhyangjip> was drawn with excluding the judging standard of Joseon Art Exhibition. By drawing a thatched house, he changed structure of the picture, and highlighted nature with using an old tree and its shadow. He described a woman in one-piece dress rather than in Han-bok, Korean traditional material. The work was understood with the 「May Song」(五月頌), which was run in the 『Dong-A Ilbo』’s May, 1939 edition. According to May Song, <Namhyangjip> included reality of the time and our emotion. He reproduced scenery of Joseon with bright painting style while adapting western impressionism style and a style of Pleinairisme which adapted the western impressionism style(Chapter IV). The person who helped spread Oh, Jiho‘s formative theory was Kim, Jookyung. Kim, Jookyung met Oh, Jiho at the Goryo Art Academy in 1923, and his view over paintings meets Oh, Jiho’s when they met for attending <Rokhyang Association> and publishing A Collection of paintings by two artists. Kim, Jookyung drew paintings with academic painting style and was awarded several times only to be refused by him. After he shared formative ideology with Oh, Jiho, he found local color of Joseon with bright painting style of primary color and the impressionism style. Choi, Youl once claimed that Oh, Jiho and Kim, Jookyung had no difference from each other; from creative method theory and their works(Chapter Ⅴ). A critic Yoon, Heesun who worked in the same period theorized the local color of Joseon concretely through publishing 『Study on Art History of Joseon』(first edition : 1946). He designated ‘atmosphere that ran through low current of age, society, and class’ as ‘Joseon Atmosphere’, when he discussed the concept of local color of Joseon in the 1930s. He also focused on virtue-expression that was pursued by ethnic society. Because Oh, Jiho formatively expressed value of nature and life during Japanese colonial period in the 1930s, starting from <Namhyangjip>, he was the best painter who materialized concept of Yoon, Heesun‘s ‘Joseon Atmosphere’ most(Chapter Ⅵ). In the 1930s, Japan tried to colonize the Joseon Art Cycle by highlighting Japanese ‘local color of Joseon’ as a part of cultural policy project. Due to these series of flows of age, the concept of local color and identity of the Joseon Art Cycle had no way but to suffer confusion. Oh, Jiho‘s purism formative ideology tried to include reality and virtue of ethnic group; and to establish identity of the local color of Joseon with bright and cheerful color. Korean impressionism was localized through Oh, Jiho by his reproducing nature of new life in accordance with our ethnic emotion. Many researchers so far have analyzed Oh, Jiho’s painting world from various perspectives. This research, however, has its significance of research; because it examines Oh, Jiho‘s formative ideology by analyzing the concept of the local color and cultural identity of the Joseon Art Cycle in the 1930s. ，韩语论文，韩语论文范文 |
