李仲燮의 群童畵를 中心으로한 兒童化 要素 硏究 = A study on the element of juvenile pictures in Lee Jung Seop's paintings of children

다국어 초록 (Multilingual Abstract)

This study analyzes the artistic world of Lee Jung Seop’s (1916-1956) life and the juvenile characteristics in his paintings of children.
Lee Jung Seop is known to most as the great national artist who painted the cattle, but most are unaware that he painted more children than cattle. The National Museum of Contemporary Art in Deoksugung held a special exhibition of Lee Jung Seop’s works entitled, ‘The Myth of the Century Year’ in 2016 to commemorate the 60th anniversary of his death. This exhibition displayed many private collection paintings that have not been seen until now; the paintings of children were especially eye-catching.
The main purpose of this study is to investigate how the characteristics peculiar to juvenile pictures are represented in a similar way in Lee Jung Seop’s pictures of children, and to consider the expressional relationship by analyzing the characteristics of juvenile pictures in his paintings.
Lee Jung Seop found art subjects in his ordinary life. He went through the very hard times that many Koreans endured under Japanese colonialism and during the Korea War but never lost his national identity, as is evident in his paintings. He created many works with passion until his death in a hospital without family or friends. Based much on a lifetime of trauma, such as the pain of war, the death of a child, parting with his wife and sons, and the failure of his private exhibition, the subjects of his paintings were his emotions and feelings.
His paintings of children started with the death of his first son. He often painted children with a heavenly peach, the symbolic food of eternal life in Taoism, and put this representation in his son’s coffin with the hope that his son would live a happy life in heaven. It was his greatest desire that his son live not a lonely life, but a healthy life playing with other children in heaven. It was after this tragic loss that many children started to appear in Lee Jung Seop’s works.
The children in his paintings show the artist’s innocent heart and longing for his child through the symbolic meanings of lines and heavenly peaches. Lee Jung Seop expressed his innocent mind in his works though the depiction of children at play. Invariably, the children in his painting play with objects, or are fishing, playing, swimming and chasing each other. His paintings have something more unusual in common, however : objects (like children, fish, animals, birds, crabs, trees and flowers) are all connected to each other in a circle and the children are given baby faces even though they are about 10 years old.
The circle composition creates a peaceful and comfortable atmosphere in the paintings and the baby faces, similar to those in traditional inlaid celadon, allude to childish innocence.
The content of his painting reflects the influence of Korean folk materials and the common sentiment of the Korean people, while Lee’s intense brush lines, typical of murals in the Goguryeo Age, create a dynamic and rhythmic beauty.
In this way, Lee Jung Seop made an effort to express himself vividly in his works, all the while maintaining his ethnic culture and tradition in a visual response to the domination of Japanese colonial culture and Western culture sweeping across his nation.
Lee’s paintings are the works of a trailblazer in modern painting who separated himself from the popular Western art, so popular in Japan, in which modernity intersected with ethnicity. Lee Jung Seop expressed imagination and illusion through his children and built a distinctive inner world without restrictions, much like that of a child.
In Lee Jung Seop paintings of children and children’s art, he is a modern artist expressing his feelings intuitively with an approach essentially like that of a child. The expressions of children are unconscious and arbitrary expressions, and he is interested in the act of expression itself – similar to the automatic technique of modern arts. While the art of children is an unconscious product of their development process, however, Lee Jung Seop’s works were created through a logical process of consciousness.
We see creativity and honest character in the art of Lee Jung Seop through his expression of similarity, freedom, transparency and imagination.
While Lee could have been internationally famous like Picasso and painted much more had he been discovered by an art collector or dealer in a different period, he was unfortunately born in the wrong century, in a poor nation. He thus lived a poor life and died lonely.
While Lee’s works have been under-appreciated, the childish innocence and imagination revealed in his paintings of children are a valuable national asset to research and have proved Lee to be a highly-gifted artist worthy of Korean national pride.

목차 (Table of Contents)

• Ⅰ. 서 론 1
• 1. 연 구 목 적 1
• 2. 연구내용 및 방법 3
• Ⅱ. 이중섭의 회화세계 5
• 1. 이중섭의 회화세계 6
• 1) 해방이전(1916–1945) 6
• 2) 해방이후(1945–1950) 18
• 2. 이중섭 회화의 정신세계 25
• 1) 전통적 소재를 표현한 민족주의 정신 25
• 2) 에로티시즘과 음담패설 30
• 3) 불교와 도교 사상 32
• 4) 샤머니즘과 토템사상 35
• 3. 이중섭 회화의 특징 36
• 1) 필선의 특징 36
• 2) 재료와 기법의 실험정신 38
• 3) 색채학적 특징 41
• 4) 조형적 특징 42
• 5) 문학적 감성표현 44
• 6) 회화의 과학성 45
• Ⅲ. 이중섭의 군동화 46
• 1. 군동화의 정의 및 기원 46
• 2. 이중섭 군동화의 배경 48
• 1) 초기 엽서화속 군동화 48
• 2) 군동화 50
• 3. 이중섭 군동화 내용과 표현 특징 51
• 1) 군동화속 동자상의 배경 51
• 2) 어울림의 미학 52
• 3) 군동화속 아이들의 특징 53
• (1) 군동화속 아이들의 용모와 행동 특징 53
• (2) 환동의 군동 55
• (3) 아이들과 자연물의 연결 57
• 4. 이중섭 군동화의 아동화적 요소와 표현 특성 59
• 1) 현대회화와 아동화의 연계성 59
• 2) 아동화의 발달 단계와 표현 양식의 특성 61
• (1) 아동화의 발달 단계별 특성 61
• (2) 아동화 표현 양식의 특성 63
• 3) 이중섭 군동화와 아동화적 요소와 표현 특성 65
• (1) 낙서화 기법(Graffiti art) 65
• (2) 기저선의 표현 66
• (3) 생략과 과장의 도형화된 단순성의 표현 66
• (4) 물아일체(物我一體)적 의인화 표현 67
• (5) 위치의 변형에 의한 자유로운 사고의 표현 68
• (6) 상상적 사고의 표현 69
• (7) 투시적 표현 71
• (8) 주관적 표현 71
• 5. 군동화의 조형적 특징 분석 75
• 1) 구도의 특징 75
• (1) 원형구도 75
• (2) 상하구도 79
• (3) 수평구도 80
• 2) 선과 색채의 특징 81
• Ⅳ. 이중섭 군동화가 후대에 미친 영향 84
• Ⅴ. 결 론 89
• 연 보 95
• 도 판 목 차 99
• 도 판 102
• 참 고 문 헌 113
• ABSTRACT 118