《서화협회전》 운영에 대한 연구

다국어 초록 (Multilingual Abstract)

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.

목차 (Table of Contents)

• I. 머리말
• Ⅱ. 서화협회의 조직구조
• Ⅲ. 서화협회전
• Ⅳ. 맺음말
• 참고문헌
• Abstract

참고문헌 (Reference)

• 1 金炫淑, "沈英燮의 「亞細亞主義 美術論」: ‘다이쇼(大正)生命主義’와의 관련을 중심으로" 한국미술연구소 (23) : 277-299, 2006
• 2 "휘문고보대확장"
• 3 "호성적의 서화전"
• 4 "협전을 아페두고 제작에 밧븐 화백들(1)"
• 5 "협전기간연장, 18일까지 오일간"
• 6 "협전금일개막 성적이 양호"
• 7 "협전, 명일부터 공개"
• 8 "협전 입선 발표"
• 9 김미정, "한국회화의 근대성(Modernity)에 관한 연구 : 근대한국화단의 3단계 발전과정을 중심으로" 대구가톨릭대학교 대학원 2006
• 10 목수현, "한국근현대미술사에서 제도에 관한 연구의 검토" 한국근현대미술사학회(구 한국근대미술사학회) (24) : 93-126, 2012
• 11 최열, "한국근대미술의 역사" 열화당 1998
• 12 이구열, "한국근대미술산고" 을유문화사 1972
• 13 "추색깊은 한양에 전개될 예술전당"
• 14 "조선미전 개최"
• 15 심영섭, "제9회협전평"
• 16 "제5회 협전을 보고"
• 17 윤범모, "제15회 서화협전의 고찰" 6 : 1998
• 18 안석주, "제13회 협전을 보고서"
• 19 "제12회 협전 출품자 제씨"
• 20 "제11회협전 입상자"
• 21 이태준, "제10회서화협전을 보고"
• 22 정현웅기념사업회, "정현웅전집" 청년사 2011
• 23 "정리 다된 서화협회전의 일부"
• 24 "전선서화전람"
• 25 "전개된 예술의 궁전"
• 26 "잃어버린 근대를 찾아서" 2012
• 27 이구열, "우리 근대미술 뒷이야기" 돌베개 2005
• 28 "오채영롱한 전람회"
• 29 "예원각계현세"
• 30 이철수, "심전 안중식의 생애와 서화협회" 동국대학교 교육대학원 2000
• 31 "신구명작을 일당에"
• 32 "숫보기의 인상기, 서화협회전람회"
• 33 "성황의 서화협회 휘호회"
• 34 "서화협회총회"
• 35 이경성, "서화협회창립전후:한국현대미술의 여명" 1961
• 36 "서화협회조직"
• 37 "서화협회전람회"
• 38 "서화협회전개회"
• 39 "서화협회전 30일까지 연기"
• 40 "서화협회전 20일부터 29일까지"
• 41 "서화협회임총 간사를 개선"
• 42 "서화협회에 대하야"
• 43 홍원기, "서화협회(1918-1936) 연구" 대구교육대학교 (31) : 1996
• 44 "서화협회 휘호회, 조선미술 부흥의 신운동"
• 45 "서화협회 회보2호"
• 46 "서화협회 회보1호"
• 47 "서화협회 제5회전람회"
• 48 "서화협회 제3회 전람회를 보고" 1923
• 49 "서화협회 제3회 전람회를 보고"
• 50 일기자, "서화협회 제2회 전람회를 보고" 1922
• 51 "서화전람회 금월에 개최해"
• 52 "서화전람은 27일"
• 53 "서화전 기간연기"
• 54 김은호, "서화백년" 중앙일보사 1977
• 55 "서협전람회 6인을 특선"
• 56 "서협전내용"
• 57 "미술의 가을, 서화협회전"
• 58 "미술의 가을 협전금일개막"
• 59 "미술-민간단체의 확대강화책, 서화가제씨의 의견"
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• 61 "낙산 하의 아집, 서화협회오연, 피로를 위하야 명사를 초대해"
• 62 고희동, "나와 서화협회 시대" 1954
• 63 "기운생동하는 협전"
• 64 "금일에 서화전람"
• 65 "금년으로 십주년 서화전 개최"
• 66 "근백의 명사를 망라한 운양선생사회장의 위원"
• 67 조정육, "근대한국미술논총" 학고재 1992
• 68 "구예원의신광명"
• 69 "고해광랑은 예술에도"
• 70 "각계진용과 현세"
• 71 김취정, "韓國 近代期의 畵壇과 書畵 需要 硏究" 고려대학교 대학원 2014
• 72 閔鏞碩, "書畵協會의 硏究" 홍익대학교 대학원 1983
• 73 구본웅, "戊寅이 걸어온 길-2 미술계"
• 74 이성혜, "20세기 초, 한국 서화의 매매와 유통 양상 -신문 광고와 기사를 통해 봄-" 한국한문학회 (44) : 441-489, 2009
• 75 목수현, "1930년대 경성의 전시공간" 한국근현대미술사학회(구 한국근대미술사학회) (20) : 97-116, 2009
• 76 권행가, "1930년대 古書畵展覽會와 경성의 미술 시장: 吳鳳彬의 朝鮮美術館을 중심으로" 한국근현대미술사학회(구 한국근대미술사학회) (19) : 163-189, 2008
• 77 조은정, "1920년 창덕궁 벽화 조성에 대한 연구" 미술사학연구회 (33) : 179-212, 2009
• 78 "11회협전 16일부터 10일간 어 휘문고보강당"