工筆 花鳥畵의 현대적 재창조: 陳之佛(1896~1962)의 花鳥畵 (The Contemporary Re-creation of Fine-brush Bird-and-Flower Paintings: A Study of the Works of Chen Zifu)

서지정보

· 발행기관 : 미술사연구회
· 수록지 정보 : 미술사연구 / 26호 / 479 ~ 500페이지
· 저자명 : 배원정

초록

Chen Zifu (陳之佛; 1896-1962) was a man of many talents: not only was he among China’s first generation of designers and a leading 20th century master of finebrush bird-and-flower painting; he was also an active teacher and art theorist. Chen’s all-out pursuit of fine-brush bird-and-flower painting, in terms of art history, was all the more significant in that it came at a time when the genre was undervalued.
Chen Zifu is of considerable importance within the history of Chinese bird-andflower painting, which has flowed uninterrupted from antiquity to the present. Despite this, there has been a pronounced lack of any serious study of him until now. Even in China, all that has been achieved is work that gathers together various material by and related to Chen; no study that deals systematically with his painting has yet appeared. In Korea, awareness of Chen is negligible.
Bird-and-flower paintings based on the xieyi （寫意; “idealizing”) scholar painting style continuously occupied the mainstream within the genre from the Yuan Dynasty onwards. This trend can be regarded as having continued, effectively, into the first half of the 20th century. In these circumstances, however, Chen, along with other artists such as Liu Kuiling (劉奎齡) and Yu Feian (于非闇), worked to recreate fine-brush bird-andflower paintings at a similar time.
Chen Zifu’s concentration on fine-brush bird-and-flower painting was not unrelated to the new understanding and re-evaluation of realist painting that emerged through the May 4 New Culture Movement. Gao Jianfu and other artists of the Lingnan School produced bird-and-flower paintings in Western realist style, which had reached them via Japan. Chen Zifu went in another direction, pioneering fine-brush bird-and-flower paintings modeled on those of the Song Dynasty. This, contemporary trends aside, can also be regarded as closely related to the fact that Chen originally majored in design. He was attracted by the fine-brush bird-and-flower paintings of the Song Dynasty, which had much in common with design works in terms of decoration and symmetrical beauty.
By copying Song Dynasty fine-brush bird-and-flower paintings, Chen developed his own world within the genre. As he gradually absorbed the bird-and-flower painting techniques of other eras, including the Yuan, Ming and Qing dynasties, he further widened the scope of his own work. By introducing the dishui (積水) method, which applied the tarashikomi (“dripping ink”) technique of Japan’s Rim school of painting (琳派), Chen further increased the variety of his works.
Following the establishment of the People’s Republic of China, Chen inevitably came under the influence of Mao Zedong’s cultural policies. Unlike figure paintings or landscapes, bird-and-flower paintings were hard to use for the expression of socialist ideology, as demanded by the Communist Party of China. Chen avoided this problem, however, by actively using the color red, which symbolized the party and the revolution. This was also the case with bird-and-flower paintings by other artists at the time.
Even as he responded to the demands of his time, Chen retained his obsession with the fine-brush bird-and-flower painting style that he held in such high esteem all his life, working constantly to cultivate it. He can be regarded as having played a decisive role in ensuring the continuation of fine-brush bird-and-flower paintings to the present day. Chen’s place on the historical path of bird-and-flower paintings that stretches from the ancient past to the present is of significant importance.

영어초록

Chen Zifu (陳之佛; 1896-1962) was a man of many talents: not only was he among China’s first generation of designers and a leading 20th century master of finebrush bird-and-flower painting; he was also an active teacher and art theorist. Chen’s all-out pursuit of fine-brush bird-and-flower painting, in terms of art history, was all the more significant in that it came at a time when the genre was undervalued.
Chen Zifu is of considerable importance within the history of Chinese bird-andflower painting, which has flowed uninterrupted from antiquity to the present. Despite this, there has been a pronounced lack of any serious study of him until now. Even in China, all that has been achieved is work that gathers together various material by and related to Chen; no study that deals systematically with his painting has yet appeared. In Korea, awareness of Chen is negligible.
Bird-and-flower paintings based on the xieyi （寫意; “idealizing”) scholar painting style continuously occupied the mainstream within the genre from the Yuan Dynasty onwards. This trend can be regarded as having continued, effectively, into the first half of the 20th century. In these circumstances, however, Chen, along with other artists such as Liu Kuiling (劉奎齡) and Yu Feian (于非闇), worked to recreate fine-brush bird-andflower paintings at a similar time.
Chen Zifu’s concentration on fine-brush bird-and-flower painting was not unrelated to the new understanding and re-evaluation of realist painting that emerged through the May 4 New Culture Movement. Gao Jianfu and other artists of the Lingnan School produced bird-and-flower paintings in Western realist style, which had reached them via Japan. Chen Zifu went in another direction, pioneering fine-brush bird-and-flower paintings modeled on those of the Song Dynasty. This, contemporary trends aside, can also be regarded as closely related to the fact that Chen originally majored in design. He was attracted by the fine-brush bird-and-flower paintings of the Song Dynasty, which had much in common with design works in terms of decoration and symmetrical beauty.
By copying Song Dynasty fine-brush bird-and-flower paintings, Chen developed his own world within the genre. As he gradually absorbed the bird-and-flower painting techniques of other eras, including the Yuan, Ming and Qing dynasties, he further widened the scope of his own work. By introducing the dishui (積水) method, which applied the tarashikomi (“dripping ink”) technique of Japan’s Rim school of painting (琳派), Chen further increased the variety of his works.
Following the establishment of the People’s Republic of China, Chen inevitably came under the influence of Mao Zedong’s cultural policies. Unlike figure paintings or landscapes, bird-and-flower paintings were hard to use for the expression of socialist ideology, as demanded by the Communist Party of China. Chen avoided this problem, however, by actively using the color red, which symbolized the party and the revolution. This was also the case with bird-and-flower paintings by other artists at the time.
Even as he responded to the demands of his time, Chen retained his obsession with the fine-brush bird-and-flower painting style that he held in such high esteem all his life, working constantly to cultivate it. He can be regarded as having played a decisive role in ensuring the continuation of fine-brush bird-and-flower paintings to the present day. Chen’s place on the historical path of bird-and-flower paintings that stretches from the ancient past to the present is of significant importance.

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