《서화협회전》 운영에 대한 연구 (A research on Management of Seowhahyupheo Art Exhibition)

서지정보

· 발행기관 : 한국근현대미술사학회(구 한국근대미술사학회)
· 수록지 정보 : 한국근현대미술사학(구 한국근대미술사학) / 29호 / 135 ~ 159페이지
· 저자명 : 조은정

초록

Seowhahyupheo, an association for pictures and calligraphy, was the first modern organization emerged in the art world in 1918. Their activity was diverse including art education, art exhibition featured by members or contestants, and publication of newsletters in a form of art magazine. Their member exhibition known as Seowhahyupheo Art Exhibition demonstrated a whole spectrum of pictures and calligraphy at that time by presenting works from traditional society to modern era as well as Western paintings all together. Those art works were also traded and sold at the exhibition.
In the early years of the association, a presidential committee was formed and ran the exhibition. But later from the mid 1920s, a management group was organized with selected people from each genre and ran the shows. Holding the Seowhahyupheo Art Exhibition which was initially launched as a members’ event, the association played a role of a multiple cultural venue in the modern era. They collected admissions from the audience, ran an award system to recruit new members, and developed a market to trade members’ works of art. In other words, Seowhahyupheo was not merely an organization to promote artists’ fellowship but also an open market where the artists were able to deal and sell their works in public. In this context, Seowhahyupheo Art Exhibition revealed the course of artists’ self-directed involvement in the circulation of art works. The exhibition also reflected the complexity of art scene in the modern era by juxtaposing Oriental painting, Western painting, calligraphy, old painting, and contemporary works all at once in a show.
Unlike Chosun Art Exhibition, which was a national art exhibition fully supported by the Japanese Government-General of Korea, a private art event like Seowhahyupheo Art Exhibition was usually possible through a fund raised by its members, admission fees, and donations from newspapers. In the Seowhahyupheo Art Exhibition, different genres of calligraphy, Oriental painting, four gracious plant painting, and Western painting were presented together or separately by reflecting different perception of the times. Considering the contents of the exhibitions, one can clearly see that traditional pictures and paintings had gained the artistic aura by being presented with new art works side by side but were gradually gone out of sight as giving way to the concept of “new” in the art scene. Buying and selling an art piece at Seowhahyupheo Art Exhibition, however, seems to have yet remained in a private sector as there was no record of commission taken by the association. It is because the event might be considered by art patrons as another route to find a work of their favorite artist. Emergence of such a modern organization in the art world was a very significant step. However, due to the dominant power of Chosun Art Exhibition which was systematically sponsored by the Japanese Government-General of Korea, Seowhahyupheo Art Exhibition gradually went downhill and could not function effectively in terms of promoting the members’ fellowship as well as recruiting new members, all of which ultimately weakened the existence of the association per se. Being the last show, the 15th Seowhahyupheo Art Exhibition in 1937 didn’t even award prize money to the winner sand the whole tradition was terminated for good with no clear reasons. Seowhahyupheo, the association, was also dismissed accordingly and finalized its existence in the very next year1938.

영어초록

Seowhahyupheo, an association for pictures and calligraphy, was the first modern organization emerged in the art world in 1918. Their activity was diverse including art education, art exhibition featured by members or contestants, and publication of newsletters in a form of art magazine. Their member exhibition known as Seowhahyupheo Art Exhibition demonstrated a whole spectrum of pictures and calligraphy at that time by presenting works from traditional society to modern era as well as Western paintings all together. Those art works were also traded and sold at the exhibition.
In the early years of the association, a presidential committee was formed and ran the exhibition. But later from the mid 1920s, a management group was organized with selected people from each genre and ran the shows. Holding the Seowhahyupheo Art Exhibition which was initially launched as a members’ event, the association played a role of a multiple cultural venue in the modern era. They collected admissions from the audience, ran an award system to recruit new members, and developed a market to trade members’ works of art. In other words, Seowhahyupheo was not merely an organization to promote artists’ fellowship but also an open market where the artists were able to deal and sell their works in public. In this context, Seowhahyupheo Art Exhibition revealed the course of artists’ self-directed involvement in the circulation of art works. The exhibition also reflected the complexity of art scene in the modern era by juxtaposing Oriental painting, Western painting, calligraphy, old painting, and contemporary works all at once in a show.
Unlike Chosun Art Exhibition, which was a national art exhibition fully supported by the Japanese Government-General of Korea, a private art event like Seowhahyupheo Art Exhibition was usually possible through a fund raised by its members, admission fees, and donations from newspapers. In the Seowhahyupheo Art Exhibition, different genres of calligraphy, Oriental painting, four gracious plant painting, and Western painting were presented together or separately by reflecting different perception of the times. Considering the contents of the exhibitions, one can clearly see that traditional pictures and paintings had gained the artistic aura by being presented with new art works side by side but were gradually gone out of sight as giving way to the concept of “new” in the art scene. Buying and selling an art piece at Seowhahyupheo Art Exhibition, however, seems to have yet remained in a private sector as there was no record of commission taken by the association. It is because the event might be considered by art patrons as another route to find a work of their favorite artist. Emergence of such a modern organization in the art world was a very significant step. However, due to the dominant power of Chosun Art Exhibition which was systematically sponsored by the Japanese Government-General of Korea, Seowhahyupheo Art Exhibition gradually went downhill and could not function effectively in terms of promoting the members’ fellowship as well as recruiting new members, all of which ultimately weakened the existence of the association per se. Being the last show, the 15th Seowhahyupheo Art Exhibition in 1937 didn’t even award prize money to the winner sand the whole tradition was terminated for good with no clear reasons. Seowhahyupheo, the association, was also dismissed accordingly and finalized its existence in the very next year1938.

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