한국 근대서예 연구(5) − 1930년대 전반기의 서예(1929-1934) −
A Study on Korean Modern Calligraphy(5) – Calligraphy of the Early 1930s(1929-1934)
본고는 제3차 자치운동이 한창이던 1929년부터 1934년까지의 한국 근대서예 실상을 구체적으로 살펴보고 그 문제점을 분석한 논문이다.
일제는 1930년대 대공황기 맞아 조선의 ‘민족정조’가 담긴 ‘민족문화’를 파시즘 이데올로기 속에 가두려 했다. 이에 타협적 민족주의 진영은 ‘문화혁신론’을 주장하면서 민족문화 선양과 단일민족의식의 고취를 촉구했다. 반면 비타협적 인사들은 ‘조선문화운동’론을 주장하면서 새로운 단계의 민족주의를 수립하고자 했다. 동양주의 미술가들은 사군자․서예가 상징주의․구성주의와 상통점이 있다는 점에 착안했다. 근대기 새로운 용어들이 유입되면서 ‘서화분리론’이 대두되었다. 이는 서예와 사군자에 대한 부정적 시각에서 비롯되었다. 서화협회전은 점차 쇠망의 길을 걷고 있었다. 그들은 권위 세우기에만 바빴을 뿐 민족문화 운동이나 정치적 고투는 없었다. 이에 반해 ‘조선미전’은 홍보에 열을 올리는가 하면 작품을 구매하며 작가들을 현혹했다. 심사위원 숫자에서 日鮮인에 차별을 두는가 하면 일본인 심사위원이란 자들은 조선 서화를 비하했다. 조선미전 서부는 10회로 끝이 나고 ‘조선서도전람회’가 생겨났지만 서화가들의 외면으로 오래가지 못했다. 이 시기 교육활동은 지지부진해졌다. 주목되는 것은 동아일보사가 ‘전조선학생미술전람회’라는 새로운 형태의 미술교육의 장을 마련했다는 사실이다. 이 전람회는 그동안 많은 변동이 있었지만 현재 제47회에 이르기까지 수많은 서예학도를 길러냈다.
이와 같이 1930년대 전반기 한국 근대서예의 총체적인 지도를 그렸다. 이러한 연구가 한국 근대서예를 이해하고 나아가 한국 현대서예가 나아갈 길을 모색하는 데 반성적 표지가 되었으면 한다.
This paper examines the reality of modern Korean calligraphy from 1929 to 1934, when the Third Autonomy Movement was in full swing, and analyzes its problems.
In the 1930s, during the Great Depression, the Japanese empire attempted to confine the ‘national culture’ containing Joseon’s ‘national sentiment’ within the ideology of fascism through fascist cultural policies. In response, the compromising nationalist camp advocated the theory of cultural innovation, and they called for the promotion of national culture and the encouragement of a single national consciousness based on the keynote of pursuing bourgeois modern civilization. Uncompromising figures advocated the Joseon Cultural Movement, a strategy to establish a new stage of nationalism in a situation where the fascist ideology of national control by the Japanese empire was accelerating, and the class-based conflicts in Joseon’s ideological and movement circles were deepening.
Orientalist artists observed that Western art revisited themes of Orientalism following the Impressionist movement. They noted that calligraphy and the Four Gracious Plants had in common with symbolism and constructivism. As new terminologies emerged in the modern period, a notion arose suggesting that calligraphy and painting should be separated, which arose from the negative view of calligraphy and the Four Gracious Plants.
The Calligraphy and Painting Association Exhibition was gradually declining. Its leaders focused on establishing authority without engaging in national cultural movements or political struggles. They attempted to reform the existing membership system by introducing a judging system and special selection awards; however, these efforts failed to bring about any significant change or development within the association. Additionally, they missed the opportunity to form the Preparatory Association of Protestant Alliance.
Meanwhile, the Joseon Art Exhibition had actively promoted itself by purchasing artworks to attract artists. However, there was a discriminatory disparity among judges based on nationality. Japanese judges often disparaged Korean calligraphy and painting, and shockingly, some Korean judges concurred with these biased views. The calligraphy department of the Joseon Art Exhibition ultimately ended after ten sessions, leading to the creation of the Joseon Calligraphy Exhibition, which also failed to thrive due to the neglect of calligraphers.
During this period, educational activities were stagnant. Notably, the Dong-A Ilbo established a new form of art education called the All-Joseon Student Art Exhibition. Although this exhibition has undergone many changes over the years, it has successfully produced numerous calligraphy students, reaching its 47th edition.
I have created a detailed overview of modern Korean calligraphy from the early 1930s. I hope this study will provide valuable insights for understanding modern Korean calligraphy and help identify a path forward, especially as contemporary Korean calligraphy faces challenges and appears to be losing its direction.
