A journey to find
the masters of Korean art 6
Dreaming of a fairyland: Lee Sang-beom
선경(仙境)을 꿈꾸며 : 이상범
Träume von einem Märchenland: Lee Sang-beom
※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.
In the busy modern society and city life, we always miss rest in nature. How about forgetting about the complexity of the city center for a moment through the works of painter Lee Sang-beom (李象範, 1897-1972), who expressed the Korean landscape in a vernacular way.
※이 기사는 그동안 세계미술계의 변방으로 여겨졌던 한국 근현대 미술사와 이를 이끈 작가들을 재조명하고 그들의 작품세계를 더욱 깊게 이해해보기 위한 한국미술사 다시보기의 일환으로 기획되었습니다.
바빠지는 현대사회와 도시의 삶 속에서 우리는 늘 자연에서의 쉼을 그리워한다. 한국의 풍경을 토속적으로 표현한 화가 이상범(李象範, 1897-1972)의 작품을 통해 잠시나마 도심의 복잡함을 잊어보는 것은 어떨까한다.
※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.
In der geschäftigen modernen Gesellschaft und im Stadtleben vermissen wir immer die Ruhe in der Natur. Wie wäre es, die Komplexität des Stadtzentrums für einen Moment zu vergessen, durch die Werke des Malers Lee Sang-beom (李象範, 1897-1972), der die koreanische Landschaft auf volkstümliche Weise zum Ausdruck brachte.
1. 청전 이상범(靑田 李象範, 1897-1972)
Lee Sang-beom was born in Gongju in 1897 as the youngest child of a scholarly family. However, less than a year after he was born, his father passed away and Lee Sang-beom's family suffered from hardships. When he was 10 years old, he moved to Seoul with his mother, but because of the continuing hardships of life, he gave up going to middle school in 1915. With this as an opportunity, he decided to pursue the career of an artist, which he had been interested in, by enrolling in the Calligraphy and Painting Academy, which did not receive tuition. After graduating from the Academy of Fine Arts in 1917, he became a disciple of Sim Jeon An Jung-sik (心田 安 中 植, 1861-1919), the last famous painter of the late Joseon Dynasty, and continued to study painting while living at his studio, Gyeongmukdang (耕墨堂). Lee Sang-beom received a compliment from his teacher, Ahn Jung-sik, as “a new young painter who will succeed me” and the pen name Cheongjeon (靑田), which was taken from his teacher, and began his full-fledged career as a painter. In the early days of his work, he used an eclectic painting style of the Northern and Southern Schools, in which the influence of his teacher was strongly evident, but from the mid-1920s, he began to show a new, modern painting style. At this time, Western painting was first introduced to Korea, and Lee Sang-beom was greatly shocked by the realistic style of Western painting. He broke away from the painting style of Nam Jong-hwa, who depicted an ideal world, and focused on realistic depictions of everyday scenes, called modern Sagyeong landscape painting (寫景山水). opened a new horizon for art.
이상범은 1897년 공주에서 선비 가문의 막내로 출생하였다. 그러나 그가 태어난지 1년도 안되 그의 아버지가 돌아가시고 이상범의 가족은 생활고에 시달렸다. 10살이 되던해 어머니를 따라 서울로 이주했자만 계속되는 생활고 때문에 1915년 중학교 진학을 포기하게 되었다. 이 일을 계기로 그는 학비를 받지 않았던 서화미술원(書畫美術院)에 입학하며 그간 관심있어했던 미술가의 길을 가기로 결정했다. 1917년 미술원을 졸업 뒤 조선 후기 마지막 어진 화가인 심전 안중식(心田 安中植, 1861-1919)의 제자로 들어가 그의 화실인 경묵당(耕墨堂)에서 기거하며 그림 공부를 이어갔다. 이상범은 스승인 안중식에게 “나의 후계를 이을 새로운 젊은 화가”라는 찬사와 함께 스승의 호를 딴 청전(靑田)이라는 호를 받고 하산하며 화가로서 본격적인 활동을 시작하게 된다. 작품 초기에는 스승의 영향이 강하게 드러나는 남북종(南北宗) 절충 화풍을 구사하였으나 1920년대 중반부터 근대적인 새로운 화풍을 선보이기 시작한다. 이 당시는 한국에 서양화가 처음으로 소개될 시기인데 이상범은 서양화의 사실적 화풍에 큰 충격을 받았고, 이상적 세계를 그리던 남종화의 화풍에 벗어나 일상적인 풍경의 사실적 묘사에 중점을 둔 근대식 사경산수화(寫景山水畵)의 새지평을 열었다.
Lee Sang-beom wurde 1897 in Gongju als jüngstes Kind einer Gelehrtenfamilie geboren. Doch weniger als ein Jahr nach seiner Geburt starb sein Vater und Lee Sang-beoms Familie litt unter Not. Als er 10 Jahre alt war, zog er mit seiner Mutter nach Seoul, doch wegen der anhaltenden Härten des Lebens brach er 1915 den Besuch der Mittelschule ab. Er sah die Chance und beschloss, die Karriere eines Künstlers zu verfolgen, die ihn schon lange interessierte, indem er sich an der Akademie für Kalligraphie und Malerei einschrieb, die kein Schulgeld verlangte. Nach seinem Abschluss an der Akademie der Schönen Künste im Jahr 1917 wurde er ein Schüler von Sim Jeon An Jung-sik (心田 安 中 植, 1861-1919), dem letzten berühmten Maler der späten Joseon-Dynastie, und setzte sein Malereistudium fort, während er in dessen Atelier Gyeongmukdang (耕墨堂) lebte. Lee Sang-beom wurde von seinem Lehrer Ahn Jung-sik als „neuer junger Maler, der meine Nachfolge antreten wird“ gelobt und erhielt das Pseudonym Cheongjeon (靑田), das er von seinem Lehrer übernahm, und begann seine vollwertige Karriere als Maler. In den frühen Tagen seiner Arbeit verwendete er einen eklektischen Malstil der Nord- und Südschulen, in dem der Einfluss seines Lehrers deutlich zu erkennen war, aber ab Mitte der 1920er Jahre begann er, einen neuen, modernen Malstil zu zeigen. Zu dieser Zeit hielt die westliche Malerei erstmals Einzug in Korea, und Lee Sang-beom war vom realistischen Stil der westlichen Malerei zutiefst schockiert. Er löste sich vom Malstil Nam Jong-hwas, der eine ideale Welt darstellte, und konzentrierte sich auf realistische Darstellungen alltäglicher Szenen, die als moderne Sagyeong-Landschaftsmalerei (寫景山水) bezeichnet wurden. Dies eröffnete der Kunst einen neuen Horizont.
2.이상범, 〈초동〉, 1926년, 종이에 수묵담채, 153×185㎝, 국립현대미술관
The work in which Lee Sang-beom's new attempt can be seen is <Head of Winter> (1926), his early representative work and one of his representative masterpieces. This work is a landscape painting composed of dry rice fields that have been harvested, a simple farmhouse, barren trees that have shed their green leaves, and mountains shrouded in clouds in the distance. In this work, he began to show an original composition that develops horizontally by placing rice paddies and streams in the background and mountains in the background. He also actively borrowed Western perspective and showed detailed expressions of objects in the foreground, including trees. With this unique work, Lee Sang-beom won a special prize at the Joseon Art Exhibition, the best art competition at the time, and after this work, he won more than 10 awards, leaving his name in the history of the Joseon Art Exhibition.
Lee Sang-beom not only made a name for himself as a painter, but also worked as an illustrator and reporter. An incident occurred in 1936 when he was working as an art reporter at the Dong-A Ilbo. In 1936, the Olympics were held in Berlin, and Korean marathoner Son Ki-jeong set a new record and won the gold medal. However, because it was the Japanese colonial period at the time, Son Ki-jeong had no choice but to climb the podium with the Japanese flag on his chest. At that time, several reporters from the Dong-A Ilbo and Lee Sang-beom erased Son Ki-jeong's Japanese flag and published a newspaper to promote anti-Japanese national spirit. Due to this incident, the Dong-A Ilbo was shut down, and the reporters involved in the incident, including Lee Sang-beom, were imprisoned and subjected to severe torture.
이러한 이상범의 새로운 시도를 볼 수 있는 작품이 그의 초기 대표작이자 그를 대표하는 걸작 중 하나인 <초동>(1926)이다. 이 작품은 수확이 끝난 메마른 논밭과 소박한 농가, 푸른 잎을 떨어낸 황량한 나무들, 멀리 운무를 머금은 산들로 구성된 산수화이다. 이 작품에서 그는 논과 개울을 근경에 두고 야산을 원경에 배치하여 횡으로 전개되는 독창적인 구도를 보여주기 시작하였다. 또한 서양의 원근법을 적극적으로 차용하며 나무를 비롯한 전경의 사물들을 세밀하게 표현하는 모습을 보여주었다. 이러한 독창적인 작품으로 이상범은 당시 최고의 미술대회인 조선미술전람회(朝鮮美術展覽會)에서 특선을 수상했고 이 작품 이후에도 10여회에 달하는 수상기록을 세우며 조선미술전람회 역사에 이름을 남기기도 했다.
이상범은 화가로 이름을 날렸을 뿐만 아니라 삽화가와 기자로도 활동했다. 그가 동아일보사에서 미술담당 기자로 재직하던 1936년도에 한 사건이 터진다. 1936년에 베를린에서 올림픽이 열렸고, 한국의 마라토너 손기정 선수가 신기록을 세우며 금매달을 땄다. 하지만 당시는 일제강점기였기에 손기정은 가슴에 일장기를 달고 시상대에 오를 수밖에 없었는데 당시 동아일보의 몇몇 기자와 이상범은 손기정 선수의 일장기를 지워버리고 신문을 발간하며 항일 민족 정신을 고취시켰다. 이 사건으로 동아일보는 폐간되었고 이상범을 비롯해 이 사건에 연루된 기자들은 투옥되어 모진 고문을 당했다.
Das Werk, in dem Lee Sang-beoms neuer Versuch zu sehen ist, ist <Head of Winter> (1926), sein frühes repräsentatives Werk und eines seiner repräsentativen Meisterwerke. Dieses Werk ist ein Landschaftsgemälde, das aus trockenen, abgeernteten Reisfeldern, einem einfachen Bauernhaus, kahlen Bäumen, die ihre grünen Blätter verloren haben, und in der Ferne in Wolken gehüllten Bergen besteht. In diesem Werk begann er, eine originelle Komposition zu zeigen, die sich horizontal entwickelt, indem er Reisfelder und Bäche in den Hintergrund und Berge in den Hintergrund stellte. Er übernahm auch aktiv die westliche Perspektive und zeigte detaillierte Ausdrücke von Objekten im Vordergrund, einschließlich Bäumen. Mit diesem einzigartigen Werk gewann Lee Sang-beom einen Sonderpreis bei der Joseon Art Exhibition, dem damals besten Kunstwettbewerb, und nach diesem Werk erhielt er über 10 weitere Preise, wodurch sein Name in die Geschichte der Joseon Art Exhibition einging.
Lee Sang-beom machte sich nicht nur als Maler einen Namen, sondern arbeitete auch als Illustrator und Reporter. Ein Vorfall ereignete sich 1936, als er als Kunstreporter bei der Dong-A Ilbo arbeitete. 1936 fanden in Berlin die Olympischen Spiele statt, und der koreanische Marathonläufer Son Ki-jeong stellte einen neuen Rekord auf und gewann die Goldmedaille. Da es sich jedoch zu dieser Zeit um die japanische Kolonialzeit handelte, hatte Son Ki-jeong keine andere Wahl, als mit der japanischen Flagge auf der Brust auf das Siegerpodest zu steigen. Damals löschten mehrere Reporter der Dong-A Ilbo und Lee Sang-beom Son Ki-jeongs japanische Flagge und veröffentlichten eine Zeitung, um den antijapanischen Nationalgeist zu fördern. Aufgrund dieses Vorfalls wurde die Dong-A Ilbo geschlossen und die an dem Vorfall beteiligten Reporter, darunter Lee Sang-beom, wurden inhaftiert und schwerer Folter ausgesetzt.
3. 이상범, 〈귀려〉, 1960년대, 종이에 수묵담채, 77×196㎝, 삼성미술관 리움
After his release from prison, Lee Sang-beom gave up his life as a journalist, opened a studio in his house, named it ‘Cheongjeon Hwasuk’, and devoted himself to his work and training of his juniors. Representative graduates of Cheongjeon Painting School include Bae Ryum (裵濂, 1911-1968), who continued the tradition of traditional landscape painting, and Park No-su (朴魯壽, 1927-2013), well-known for his sensuously colored landscape paintings. This period in which Cheongjeon Hwasuk was operated is considered to be the peak of Lee Sang-beom's Sagyeong landscape paintings. The rural rural landscape is placed in a simple composition, and the shades that gradually change from light to dark ink are sublimated into a world with rich local colors. In particular, the atmosphere of the rural mountains and fields is processed with a unique technique according to the change of seasons, creating a sense of harmony with nature. Lee Sang-beom's unique landscape paintings, which expressed the emotions of Koreans living in a simple way, harmoniously combining new painting techniques and traditional views of nature, were also called "Cheongjeon style" after his pen name.
In this way, Lee Sang-beom is evaluated as a painter representing modern Korean painting, and even after liberation, he was greatly respected, including being appointed as an advisor to the National Art Exhibition of Korea and a professor at Hongik University, but he also has a dark side. After the incident of erasing the Japanese flag mentioned above, he converted to pro-Japanese behavior and displayed pro-Japanese behavior, such as drawing pictures praising Japan or participating in events to raise military funds for the Japanese military, so it is a pity that his artistic achievements and previous anti-Japanese activities are fading away.
출소 후 이상범은 기자 생활을 청산하고 자신의 집에 화실을 만들어 ‘청전 화숙’이라고 이름 짓고 작품활동과 후배 양성에 힘썼다. 청전 화숙의 대표적인 졸업생으로는 전통 산수화의 맥을 이어간 배렴(裵濂, 1911-1968)과 감각적인 색감의 산수화로 잘 알려진 박노수(朴魯壽, 1927-2013)등이 있다. 청전 화숙을 운영할 이 시기는 이상범의 사경산수화의 정점을 보여주는 시기라고 평가된다. 농촌의 전원 풍경을 간단한 구도 속에 배치하고 엷은 먹에서 차츰 진한 데로 변화하는 농담의 묘를 살려 향토색 짙은 세계로 승화시키고 있으며 특히 시골 산야의 정취를 계절의 변화에 따라 특유의 기법으로 처리하여 자연과 함께 지내는 한국인의 정서를 소박하게 표현했는데, 이렇게 새로운 그림 기법과 전통적 자연관을 조화롭게 잘 녹여낸 이상범의 독특한 산수화 그림은 그의 호를 따 “청전양식”이라고 불리기도 하였다.
이렇게 이상범은 근대 한국화를 대표하는 화가로 평가되며 광복 이후에도 대한민국미술전람회의 고문과 홍익대학교의 교수로 임명되는 등 큰 존경을 받았지만 어두운 면 역시 존재한다. 위에 언급된 일장기 말소 사건 이후 그는 전향하여 일제를 찬양하는 그림을 그리거나 일본군의 군자금을 마련하는 행사에 참여하는 등의 친일 행각을 보였기에 그의 예술적 업적이나 이전의 항일 활동이 퇴색되는 것이 안타까울 따름이다.
Nach seiner Entlassung aus dem Gefängnis gab Lee Sang-beom sein Leben als Journalist auf, eröffnete in seinem Haus ein Atelier, nannte es „Cheongjeon Hwasuk“, und widmete sich seiner Arbeit und der Ausbildung seiner Nachwuchskräfte. Zu den repräsentativen Absolventen der Cheongjeon-Malschule zählen Bae Ryum (裵濂, 1911-1968), der die Tradition der traditionellen Landschaftsmalerei fortführte, und Park No-su (朴魯壽, 1927-2013), der für seine sinnlich gefärbten Landschaftsgemälde bekannt ist. Diese Zeit, in der Cheongjeon Hwasuk tätig war, gilt als Höhepunkt von Lee Sang-beoms Sagyeong-Landschaftsgemälden. Die ländliche Landschaft ist in einer einfachen Komposition dargestellt, und die Farbtöne, die allmählich von heller zu dunkler Tinte wechseln, werden in eine Welt mit satten lokalen Farben sublimiert. Insbesondere die Atmosphäre der ländlichen Berge und Felder wird je nach Jahreszeitenwechsel mit einer einzigartigen Technik verarbeitet, wodurch ein Gefühl der Harmonie mit der Natur entsteht. Lee Sang-beoms einzigartige Landschaftsgemälde, die die Gefühle der Koreaner auf einfache Weise zum Ausdruck bringen und neue Maltechniken und traditionelle Ansichten der Natur harmonisch miteinander verbinden, wurden nach seinem Pseudonym auch „Cheongjeon-Stil“ genannt.
Auf diese Weise wird Lee Sang-beom als Maler der modernen koreanischen Malerei angesehen und selbst nach der Befreiung genoss er großes Ansehen, unter anderem wurde er zum Berater der Nationalen Kunstausstellung Koreas und zum Professor an der Hongik-Universität ernannt, aber er hat auch eine dunkle Seite. Nach dem oben erwähnten Vorfall des Auslöschens der japanischen Flagge wechselte er zu projapanischem Verhalten und zeigte projapanisches Verhalten, z. B. indem er Bilder zeichnete, die Japan lobten, oder an Veranstaltungen teilnahm, um Militärgelder für das japanische Militär zu sammeln. Daher ist es schade, dass seine künstlerischen Errungenschaften und früheren antijapanischen Aktivitäten verblassen.
FIN.
Written by
Kate Kim
Published, Copyright by
ART?ART! Editor Team
Date
2024. 5.30