A journey to find
the masters of Korean art 4
Between a master and a traitor: Idang Kim Eun-ho
거장과 반역자, 그 사이: 이당 김은호(以堂 金殷鎬)
Zwischen einem Meister und einem Verräter: Idang Kim Eun-ho
※This article was planned as part of a review of Korean art history to shed new light on Korean modern and contemporary art history, which has been considered a periphery of the world art world, and the artists who led it, and to gain a deeper understanding of their world of work.
There are many sides to humans. Things like a neighbor who was always kind and gentle turns out to be a serial killer, or an old man with a bad personality who turns out to have been helping people by donating regularly.
However, if a situation like Richard Nixon, who ushered in the thaw of the Cold War but resigned in disgrace due to the Watergate scandal, occurred in history where the evaluation of a person was divided, which way would you evaluate that person? Similar challenges exist in Korean art history.
※이 기사는 그동안 세계미술계의 변방으로 여겨졌던 한국 근현대 미술사와 이를 이끈 작가들을 재조명하고 그들의 작품세계를 더욱 깊게 이해해보기 위한 한국미술사 다시보기의 일환으로 기획되었습니다.
인간에게는 여러가지 면이 있다. 늘 친절하고 상냥하던 이웃이 알고 보니 연쇄 살인범이었다거나 성격 나쁜 노인이 알고보니 꾸준히 기부하며 사람을 도와주었다든가 하는 것들 말이다. 하지만 냉전시대의 해빙기를 가지고 왔으나 워터게이트 사건으로 불명예스럽게 사퇴한 리처드 닉슨과 같이 한사람의 평가가 갈리는 이런 상황이 역사 속에서 벌어진다면, 여러분은 그 사람을 어느쪽으로 평가할 것인가. 이와 비슷한 난제가 한국 미술사에도 있다.
※Dieser Artikel war als Teil eines Rückblicks auf die koreanische Kunstgeschichte geplant, um ein neues Licht auf die moderne und zeitgenössische Kunstgeschichte Koreas, die als Randgebiet der Weltkunstwelt gilt, und die Künstler, die sie anführten, zu werfen und einen tieferen Einblick zu gewinnen Verständnis für ihre Arbeitswelt.
Der Mensch hat viele Seiten. Dinge wie ein Nachbar, der immer freundlich und sanft war, erweisen sich als Serienmörder, oder ein alter Mann mit einer schlechten Persönlichkeit, der Menschen durch regelmäßige Spenden hilft.
Wenn es jedoch in der Geschichte eine Situation wie Richard Nixon geben würde, der das Tauwetter des Kalten Krieges einleitete, aber aufgrund des Watergate-Skandals in Ungnade zurücktrat, in der die Bewertung einer Person geteilt war, wie würden Sie diese Person bewerten? Ähnliche Herausforderungen bestehen in der koreanischen Kunstgeschichte.
Kim Eun-ho, <Self-Portrait>, oil painting on canvas, 36.5cmX44.5cm. 1926
Kim Eun-ho was born in Incheon in 1892 during the late Korean Empire. He studied surveying at Inheung School. After graduation, he moved to Seoul and started working as a surveyor. Meanwhile, on the recommendation of Pyeonggang County Governor Hyeonchae (1856-1925), who noticed his delicate drawing skills, Ahn Jung-sik (1861-1919), Jo Seok-jin (1853-1920), and Jeong Dae-yu (1852-1927), entered the Gyeongseong Painting and Calligraphy Art Academy, where many of the leading painters of the time gathered, and began his career as an artist. Kim Eun-ho, who studied under the masters of his time, displayed his artistic sensibility to the fullest and was appointed as an imperial painter, a position that only renowned painters at the time could do.
김은호는 대한제국 말기 1892년 인천에서 출생했다. 인흥(仁興)학교에서 측량을 공부한 그는 졸업 후 서울로 상경해 측량기사로 일하기 시작했다. 그러던 중 그의 섬세한 도면 실력을 눈 여겨 본 평강군수 현채(玄采), 1856-1925)의 추천으로 안중식(安中植, 1861-1919), 조석진 (趙錫晋, 1853- 1920), 정대유(丁大有, 1852-1927) 등 당대 내노라 하는 화가들이 모인 경성서화미술원(京城書畵美 術院)에 입학하며 예술가로서의 길을 가게 된다. 당대의 대가들 아래서 사사받은 김은호는 그의 예술적 감각을 유감없이 발휘하며 당시 명망있는 화가들만이 할 수 있었다는 황실의 어용화사(御 用畵師)로 임명되었다.
Kim Eun-ho wurde 1892 im späten Koreanischen Reich in Incheon geboren. Er studierte Vermessung an der Inheung-Schule. Nach seinem Abschluss zog er nach Seoul und begann als Landvermesser zu arbeiten. Auf Empfehlung des Gouverneurs des Landkreises Pyeonggang, Hyeonchae (1856–1925), der seine feinen Zeichenfähigkeiten bemerkte, wurden Ahn Jung-sik (1861–1919), Jo Seok-jin (1853–1920) und Jeong Dae-yu (1852-1927) trat in die Gyeongseong-Akademie für Malerei und Kalligraphie ein, wo viele der führenden Maler der Zeit zusammenkamen, und begann seine Karriere als Künstler. Kim Eun-ho, der bei den Meistern seiner Zeit studierte, zeigte sein künstlerisches Gespür in vollem Umfang und wurde zum kaiserlichen Maler ernannt, eine Position, die zu dieser Zeit nur renommierten Malern übertragen werden konnte.
Kim Eun-ho, <Portrait of SoonJong>, ink on paper, 59.7×45.5㎝, 1923
As a painter who painted portraits of kings, he not only worked on <Portraits of King Sejo>, <Portraits of King Wonjong>, and <Portraits of King Sunjong>, but also painted works containing major figures in Korean history, <Nongae>, <Shin Saimdang>, and <Yulgok YiYi>, <Choi Je-woo>, and <Chungmugong Yi Sun-sin>. In this way, Kim Eun-ho, who was actively working as a court painter, was caught up in a major historical vortex. In 1910, Joseon became a colony of the Japanese Empire through the Korea-Japan Annexation Treaty, and Japan began a very oppressive rule. Eventually, in 1919, Koreans rebelled against Japan's harsh oppression and launched the March 1st Independence Movement, which is said to be the largest independence movement of the Korean people. Kim Eun-ho was also arrested while distributing independence newspapers with patriots and spent about six months in prison, devoting himself to the independence movement.
왕의 초상화를 그리는 어용화사로서 그는 <세조 어진>, <원종 어진>, <순종 어진>을 작업했을 뿐만 아니라 <논개>, <신사임당>, <율곡 이이>, <최제우>, <충무공 이순신>와 같은 한국사의 주요 인물들을 담은 작품을 그렸다 . 이렇게 궁중화가로 활발히 활동하던 김은호는 큰 역사적 소용돌이에 말리게 된다. 1910년 조선은 한일병합조약으로 일본제국의 식민지가 되었고 일제는 매우 폭압적인 통치를 시작했고 결국 1919년 조선인들은 가혹한 일제의 탄압에 반발하며 한민족 최대 독립운동이라 불리는 3.1 독립운동을 일으켰다. 김은호 역시 애국지사들과 함께 독립신문을 배포하다가 체포되어 약 6개월여의 수감 생활을 하기도 하며 독립운동에 투신하였다.
Als Maler, der Porträts von Königen malte, arbeitete er nicht nur an <Porträts von König Sejo>, <Porträts von König Wonjong> und <Porträts von König Sunjong>, sondern malte auch Werke mit wichtigen Persönlichkeiten der koreanischen Geschichte, <Nongae> , <Shin Saimdang> und <Yulgok YiYi>, <Choi Je-woo> und <Chungmugong Yi Sun-sin>. Auf diese Weise geriet Kim Eun-ho, der aktiv als Hofmaler tätig war, in einen großen historischen Strudel. Im Jahr 1910 wurde Joseon durch den Korea-Japan-Annexionsvertrag eine Kolonie des japanischen Reiches, und Japan begann eine sehr repressive Herrschaft. Schließlich rebellierten die Koreaner 1919 gegen die harte Unterdrückung Japans und riefen die Unabhängigkeitsbewegung vom 1. März ins Leben, die als die größte Unabhängigkeitsbewegung des koreanischen Volkes gilt. Kim Eun-ho wurde ebenfalls verhaftet, als er Unabhängigkeitszeitungen an Patrioten verteilte, und verbrachte etwa sechs Monate im Gefängnis, wo er sich der Unabhängigkeitsbewegung widmete.
Kim Eun-ho, <Seungmudo>, coloring on silk, 43.5cmX59.5
After being released from prison, Kim Eun-ho picked up the brush again and produced the mural <White Crane Painting> for the Daejojeon Hall of Changdeokgung Palace in 1920, and he participated in the 1st Calligraphy and Painting Association Exhibition in 1921 and the 1st Joseon Art Exhibition in 1922. By participating in , he began to make his name known in the oriental art world. After being active in Joseon, he left to study at Tokyo University of the Arts in Japan in 1924. During this period, he systematically studied Western painting and began to use a new painting style that added Western-style perspective and light and shade to Oriental painting. Kim Eun-ho, who returned to Joseon, gained fame not only in Joseon but also in Japan with his classy yet modern portrait style that added elegant yet colorful colors to realistic figures expressed with his signature delicate and precise brush lines. He was also recognized as a pioneer of Joseon's modern art, establishing the Joseon Art Institute to teach modern painting styles learned in Japan and to train younger students who would lead the new era.
출소한 후 김은호는 다시 붓을 잡아 1920년 창덕궁 대조전의 벽화 <백학도(白鶴圖)>를 제작했고, 그는 1921년 제1회 서화협회전과 1922년 제1회 조선미술전람회(朝鮮美術展覽會)에 참여하여 동양화단에 이름을 알리기 시작했다. 조선에서 활발한 활동을 하던 그는 1924년 일본의 도쿄예술대학(東京藝術大学)으로 유학을 떠났다. 이 시기 그는 서양화에 대한 체계적인 공부를 하며 동양화에 서양화풍의 원근법과 명암법을 더한 새로운 화풍을 구사하기 시작한다. 다시 조선으로 돌아온 김은호는 그 특유의 섬세하고 치밀한 붓선으로 표현한 사실적인 인물에 우아하지만 화려한 색감을 더한 격조 있지만 현대적인 초상화 스타일로 조선은 물론 일본까지 명성을 떨쳤다. 또한 조선미술원(朝鮮美術院)을 설립하여 일본에서 배운 근대적인 화풍을 가르치며 새 시대를 이끌 후학을 양성하는 등 조선의 현대 미술의 선구자로 인정받았다.
Nach seiner Entlassung aus dem Gefängnis griff Kim Eun-ho wieder zum Pinsel und fertigte 1920 das Wandgemälde „Malerei eines weißen Kranichs“ für die Daejojeon-Halle des Changdeokgung-Palastes an. Außerdem nahm er 1921 an der 1. Ausstellung der Kalligrafie- und Malvereinigung teil Joseon-Kunstausstellung im Jahr 1922. Durch die Teilnahme an machte er sich in der orientalischen Kunstwelt einen Namen. Nachdem er in Joseon aktiv war, verließ er 1924 das Land, um an der Universität der Künste Tokio in Japan zu studieren. Während dieser Zeit studierte er systematisch westliche Malerei und begann, einen neuen Malstil zu verwenden, der orientalische Perspektiven sowie Licht und Schatten im westlichen Stil hinzufügte Malerei. Kim Eun-ho, der nach Joseon zurückkehrte, erlangte nicht nur in Joseon, sondern auch in Japan Berühmtheit mit seinem klassischen und dennoch modernen Porträtstil, der realistischen Figuren elegante und dennoch farbenfrohe Farben hinzufügte, die er mit seinen charakteristischen zarten und präzisen Pinsellinien zum Ausdruck brachte. Er galt auch als Pionier der modernen Kunst Joseons und gründete das Joseon Art Institute, um in Japan erlernte moderne Malstile zu lehren und jüngere Studenten auszubilden, die die neue Ära anführen würden.
Kim Eun-ho, 〈Portrait of Chunhyang〉, color on silk, 203×122㎝, 1961
Looking at the above, Kim Eun-ho should have been one of the most respected artists in Korean art history, but in modern times, his status has fallen to the point where talking about him was a taboo in the Korean art world. Although he was imprisoned for his independence movement in his youth, perhaps it was because he was satisfied with his life studying abroad in Japan. After returning to Korea, he took the lead in a movement to change his Korean name to a Japanese one, and presented works advocating the Pacific War and helped raise funds for the war. He turned his back on his country and became a collaborator of the Japanese Empire. In particular, in 1937, when the Sino-Japanese War was in full swing, <Golden Tea Offering> depicts the activities of the Patriotic Gold Tea Association, a pro-Japanese women's group led by nobles and bureaucrats' wives to take the lead in raising national defense contributions and supporting the imperial army. The fact that he produced and dedicated the painting to the Japanese Government-General of Joseon is a famous incident that shows his pro-Japanese behavior. Due to these numerous pro-Japanese acts, Kim Eun-ho was posthumously named as an anti-national activist, and his works <Portrait of Chunhyang> and <Righteous Gisaeng Nongae> were demolished, and <Portrait of Shin Saimdang>, which was the design for the 50,000 won bill, also suffered the humiliation of being replaced amid controversy.
Kim Eun-ho is a painter who inherited the traditional Northern school painting, raised Korean genre painting to a higher level, and is one of the most important figures in the history of modern and contemporary Korean art, serving as a bridge between classical and modern painting with his sophisticated painting style. However, he is also known for his anti-national activities. Therefore, his work was not studied for a while and was not even exhibited. History is an important issue for a people. Therefore, although a person who betrays the nation deserves to be punished, the discussion continues in the Korean art world as to whether the artistic value and art historical achievements of the works that the artist achieved through his lifetime of research should be undervalued.
위의 내용만 보면 응당 김은호는 한국 예술사에서 가장 존경받는 작가 중 한 명이 되어야 했지만 현대에 와서 그에 대한 이야기는 한국 예술계에서 금기였던 때가 있을 정도로 위상이 추락했다. 젊은 시절 독립운동을 하며 투옥까지 되었던 그였지만 일본 유학 생활에 만족한 탓일까, 귀국 이후 그는 조선식 이름을 일본식으로 바꾸는 창씨개명운동에 앞장섰고, 태평양전쟁을 옹호하는 작품을 선보이거나 전쟁 자금 조달에 힘쓰는 등 조국을 등지고 제국의 부역자가 되었다. 특히 중일전쟁이 한창인 1937년, 국방헌금 조달과 황군 원호에 앞장서기 위해 귀족이나 관료 부인 등이 주축을 이룬 친일 여성단체 애국금차회(愛國金釵會)의 활동을 담은 를 제작하여 조선총독부에 헌납한 것은 그의 친일 행각을 보여주는 유명한 사건이다. 이러한 수많은 친일 행위로 김은호는 사후 반민족행위자로 이름을 올렸고 그의 작품인 '춘향 영정'과 '의기 논개'는 철거당했으며 5만원권의 도안이었던 역시 논란 속에 교체되는 수모를 겪기도 했다.
김은호는 전통적인 북종화를 계승한 화가로서 한국의 풍속화를 더 높은 경지에 올려놓았으며 세련된 화풍으로 고전회화와 현대회화 사이를 이어주는 가교역할을 한 한국 근현대미술사에 있어서 가장 중요한 거물 중 한 명이지만, 반민족행위로 그의 작품은 한동안 연구되지 못했으며 전시마저 되지 않았다. 역사란 한 민족에게 중요한 문제이다. 그렇기에 민족을 배반한 자는 응당 그만한 벌을 받아야 하겠지만 작가로 인해 그가 평생동안 연구하며 이룩한 작품들의 예술성과 예술사적 업적까지 저평가 받아야 하는가에 대한 논의는 한국 미술계에서 계속되고 있다.
Wenn man das oben Gesagte betrachtet, hätte Kim Eun-ho einer der angesehensten Künstler in der koreanischen Kunstgeschichte sein sollen, aber in der Neuzeit ist sein Status so weit gesunken, dass es in der koreanischen Kunstwelt ein Tabu war, über ihn zu sprechen. Obwohl er in seiner Jugend wegen seiner Unabhängigkeitsbewegung inhaftiert war, lag das vielleicht daran, dass er mit seinem Studium im Ausland in Japan zufrieden war. Nach seiner Rückkehr nach Korea übernahm er die Führung einer Bewegung zur Änderung seines koreanischen Namens in einen japanischen, präsentierte Werke, die den Pazifikkrieg befürworteten, und half bei der Beschaffung von Geldern für den Krieg. Er kehrte seinem Land den Rücken und wurde ein Kollaborateur des japanischen Reiches. Insbesondere im Jahr 1937, als der Chinesisch-Japanische Krieg in vollem Gange war, zeigt „Golden Tea Offering“ die Aktivitäten der Patriotic Gold Tea Association, einer pro-japanischen Frauengruppe, die von Adligen und Bürokratenfrauen angeführt wurde und die Führung übernahm Erhöhung der Beiträge zur Landesverteidigung und Unterstützung der kaiserlichen Armee. Die Tatsache, dass er das Gemälde anfertigte und dem japanischen Generalgouverneur von Joseon widmete, ist ein berühmter Vorfall, der sein pro-japanisches Verhalten zeigt. Aufgrund dieser zahlreichen pro-japanischen Taten wurde Kim Eun-ho posthum als antinationaler Aktivist bezeichnet und seine Werke <Portrait of Chunhyang> und <Righteous Gisaeng Nongae> wurden abgerissen, sowie „Portrait of Shin Saimdang“ wurden abgerissen war der Entwurf für den 50.000-Won-Schein, erlitt ebenfalls die Demütigung, inmitten von Kontroversen ersetzt zu werden.
Kim Eun-ho ist ein Maler, der die traditionelle Malerei der nordischen Schule übernommen hat, die koreanische Genremalerei auf ein höheres Niveau gehoben hat und eine der wichtigsten Figuren in der Geschichte der modernen und zeitgenössischen koreanischen Kunst ist, die als Brücke zwischen Klassik und Moderne fungiert Malerei mit seinem anspruchsvollen Malstil. Allerdings ist er auch für seine antinationalen Aktivitäten bekannt. Daher wurde sein Werk eine Zeit lang nicht untersucht und nicht einmal ausgestellt. Geschichte ist ein wichtiges Thema für ein Volk. Obwohl eine Person, die die Nation verrät, eine Bestrafung verdient, wird daher in der koreanischen Kunstwelt weiterhin darüber diskutiert, ob der künstlerische Wert und die kunsthistorischen Errungenschaften der Werke, die der Künstler im Laufe seiner lebenslangen Forschung erreicht hat, unterbewertet werden sollten.
References
[참고자료]
Kee, Joan (2018). "Modern art in late Colonial Korea: A research experiment" Modernism/Modernity
한국민족문화대백과사전 https://encykorea.aks.ac.kr/Article/E0010131
디지털미추홀구문화대전 http://www.grandculture.net/michuhol/toc/GC04701108
FIN.
Written by
Kate Kim
Published, Copyright by
ART?ART! Editor Team
Date
2024. 2.29