KCI등재
1920~30년대 廣東畵壇의 정치활동과 지역화풍 계승 = 嶺南畵派와 廣東國畵硏究會를 중심으로
저자
발행기관
학술지명
권호사항
발행연도
2015
작성언어
Korean
주제어
등재정보
KCI등재
자료형태
학술저널
발행기관 URL
수록면
287-315(29쪽)
제공처
Modern Guangdong Painters had grown by and listed in the 3rd of regional painters at Beijing, and Shanghai of China. Those painters were actively working centered at Guangzhou, Macau, and Hong Kong before the establishment of the People’s Republic of China at 1949. The cultural field of Guangdong district was composed of head of paintings and calligraphic works, who inherited traditional Chinese classics of 20 century, appreciation and preference. By undergoing Chinese Revolution(辛亥革命)(1911) to be a political heartland, it turned into a politically active place where allowing the realization of politics and cultural art policy of the People’s Republic of China. In 1920, original painters of Guangdong began to walk through by the two distinct paths: innovative tendency of Lingnan School and conservative tendency of Guangdong Chinese Painting Research.
Among the core features of Guangdong Painters, artists had settled the art policy by participating in political actions. Some of artists, Gao Jian Fu(高劍父), Gao Qi Feng(高寄峰), Chen Shu Ren(陳樹人), Pan Da Wei(潘澾微), He Xiang Ning(何香凝), joined the Tongmenghui while holding a political activity and running the painting work. While maintaining the intimate relationship with Sun Yat-sen(孫文, 1866~1925), those painters began in earnest the art project with political willingness. In addition, they introduced an art exhibition at Guangzhou and brought the huge influence on the establishment of museum construction policy.
Around 1920s, once the artists of Gao Jian Fu, Gao Qi Feng, and Chen Shu Ren achieved the fame, who were influenced by modern Japan Kyoto Painters, Gao Jian Fu and Gao Qi Feng found the institution and fully practiced Chunshui School(春睡畵院) and Tianfenglou School(天風樓) with disciples. From such active practice, literary people of Guangdong region who sensed crisis got together and organized The Guihai Art Cooperative(癸亥合作社)(1923). In 1925 this expanded in scale and named it The Chinese Painting Research Society(國畵硏究會), which brought literary people into this group as members. After that the capacity of The Chinese Painting Research Society afterwards increased to take the tasks of literary publications and painting for sales as up to the modernized status.
Gao Jian Fu, Gao Qi Feng, and Chen Shu Ren as the members of Lingnan School insisted Chinese-Western eclecticism “New Chinese Painting” such as perspective technique, which combined the best of Chinese and Western painting. Otherwise, Chinese Painting Research Society kept the statememt of tradition succession and research, it revealed their inclination through artworks that copy the works or reinterpret the styles of historical masters. The confrontation caused by differences among art styles and theories resulted in coexistence of the variety of art styles in Guandong region.
The artworks by painters of both the Lingnan School and the Guangdong Chinese Painting Research Society, however, commonly inherited the painting styles of Ju Lian(居廉, 1828~1904) from Guangdong regions and kapok tree(木棉), a symbol of this region, representing the aspect of succession as a drawing source during the late 19 century. Ju Lian who were specialized in liquid spread effect technique(撞水撞紛法) at Flower Birds Paintings transmitted his art style by active participation in Liangnan School and Guangdong Chinese Painting Research with his disciples during the early 20th century. Since then Kapok tree has been utilized to represent the scenery of spring season of Guandong region and also used in art work as a regional theme source consistently.
Guangdong Painters could root into as one of the Chinese modern regional painters because of active political practice, acceptance of Japanese art style, traditional drawing research, and succession of regional drawing. Although influence of such actions faced the limitation in terms of regional space, it had grown as representative painters featuring the transition of political and cultu
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