일제강점기 詩社활동과 書畵合璧圖 연구 (The Cultural Activities of Poetic Societies during the Japanese Occupation Period and Seohwahapbyeokdo Seohwahapbyeokdo by the Sanbyeok Poetic Society)

서지정보

· 발행기관 : 한국미술사학회
· 수록지 정보 : 미술사학연구 / 268권 / 268호 / 195 ~ 227페이지
· 저자명 : 김예진

초록

궁극적으로 詩書畵一致를 지향하며 창작 주체들 간의 조화를 추구하는 서화합벽도는, 詩文을 논하면서文人的 소양을 고양시키고 구성원간의 결속과 友誼를 다지는 詩社에 적합한 형식이라고 할 수 있다.
본고에서 다루는 산벽시사 서화합벽도는 정대유·이기·서상춘·오세창·유진찬·윤희구·조중관·박한영·김돈희·민형식·안종원·이보상·이응균·이도영·고희동·최남선 등 16명의 문인들이 1925년에서 1927년까지 활동하였던 시회에서 제작된 작품들이다. 산벽시사에는 동인들을 한명씩 순차적으로 기념하여 기념작품을 제작하는 전통이 있었고, 書畵合璧圖軸·書畵合璧圖卷·詩帖 등 각기 다른 총 16점의 작품이 제작되어 동인들에게 1점씩 증여되었다.
그 가운데 고려대학교박물관과 서강대학교박물관에 전하는 산벽시사 서화합벽도 2점은 고전과 전통서화, 그리고 청조문화에 대한 해박한 이해를 갖춘 동인들이 창안한 형식으로 이전의 시권 및 시축들과는다른 독창적인 양식적 특징을 보여준다.
첫째, 산벽시사 서화합벽도는 화면을 균형있게 안배하여 동인들의 서화를 배치하는 화면 형식이 특징이다. 이러한 형식은 오세창이 금석학 연구를 통해 창안해 낸 독창적인 서예작품 형식에서 비롯된 것으로 보인다. 둘째, 산벽시사 서화합벽도는 작품의 중앙에 백묘화로 초상화를 그리고 그 주변에 동인들이 그린 사군자와 16인이 직접 쓴 酬唱詩를 배치하는 구성을 보여준다. 인물의 초상과 題記가 한 화면에서 적극적으로 어울리는 형식과 吟席을 기념하고 주인공을 칭송하는 수창시의 내용은 청대 초상화와 비교가 되어주목된다. 셋째, 산벽시사 서화합벽도는 동인들의 사군자합벽과 시권이 결합된 형식을 보여준다. 작품 속에서 사군자는 찬시와 함께 동인들의 인품을 기리는 역할을 하며, 동인들이 직접 筆書한 詩는 詩書畵 一致라는 문인화의 이상을 적극적으로 구현한 것이라고 하겠다.
이처럼, 산벽시사 동인들은 조선말 여항시사의 전통을 계승하였고, 청조문물에 대해 관심있게 연구하였고, 서화합벽도의 유행을 수용하여, 시권·초상화·사군자합벽도가 한 화면에 결합된 독창적인 작품을 제작하였다. 산벽시사 서화합벽도는 이는 근대기 서화형식의 다양화라는 측면에서 매우 주목되는 작품이다.

영어초록

The ideal sought in seohwahapbyeokdo , a genre painting blending poetry with calligraphy and painting, wa s‘ siseohwa ilche,’the unity between these three art forms. This hybrid genre, largely practiced by Korean poetic societies in the early 20th century, appears,after all, highly suited to the purposes of these associations; namely, nurturing the qualities of men of letters through discussions of poetry-related topics and promoting friendship and personal and social bonds between their members.
Seohwahapbyeokdo , with which this paper is concerned, are works by members of the Sanbyeok Sisa(Sanbyeok Poetic Society) which existed between 1925 and 1927. The Sanbyeok Poetic Society had sixteen members who were writers and poets, including Jeong Dae-yu, Yi Gi, Seo Sang-chun, O Se-chang, Yu Jin-chan, Yun Hui-gu, Jo Jung-gwan,Park Han-yeong, Kim Don-hui, Min Hyeong-sik, An Jong-won, Yi Bo-sang, Yi Eung-gyun,Yi Do-yeong, Go Hui-dong and Choe Nam-seon. The members of this poetic society had a tradition of creating seohwahapbyeokdo-style works in homage of one of them periodically,with each of them getting their turn of receiving this homage from the rest. Sixteen different works were created at each round and each member owned a copy of these works either bound into a book or mounted into a scroll.
Two of the seohwahapbyeokdo , produced by members of the Sanbyeok Poetic Society, that are currently in the collections of the Korea University Museum and Sogang University Museum, respectively, were works by members of the Sanbyeok Sisa who seem to have been well versed in classical and traditional calligraphy and painting with a good understanding of the Chinese culture of the Qing dynasty. These two works exhibit highly original stylistic characteristics that make them distinct from poetic anthologies or scrolls produced previously.
Firstly, the seohwahapbyeokdo of the Sanbyeok Poetic Society have an excellent spatial composition, with calligraphies and paintings by its members arranged with taste. This spatial distribution appears to have derived from the original calligraphic style developed by O Se-chang through his epigraphic research. Secondly, the seohwahapbyeokdo of the Sanbyeok Poetic Society have at its center a portrait drawn using a single color, and the Four Gentlemen painted by its members and poems written by them are placed around the portrait in the middle. The very precise correspondence between the portrait and its inscriptions on painting and the close relationship among the poems commemorating the gathering and praising the person to whom the homage is rendered, set these works was affected by Qing-dynasty portraits, for example. Thirdly, in the seohwahapbyeokdo of the Sanbyeok Poetic Society, the Four Gentlemen paintings and poems closely echo each other.
The Four Gentlemen depicted in these works, by praising the virtues of these ideal plants and trees, honor the members of the poetic society, and the poems accompanying them actively embody the ideal of unity between poetry, calligraphy, and painting.
The members of the Sanbyeok Poetic Society, therefore, inherited the tradition of yeohang sisa (poetic societies led by middle-class and commoners) from the late Joseon period and bore keen interest in Qing-dynasty Chinese culture. By embracing the popular seohwahapbyeokdo trend, they produced highly-original works which combined a poetic anthology, portrait, and a hapbyeokdo on the theme of the Four Gentlemen. The seohwahapbyeokdo of the Sanbyeok Poetic Society are works that deserve more attention insofar as they are great examples of the diversification in the practice of calligraphy and painting that occurred in modern-era Korea.

참고자료

· 없음