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Seo Byeong-o (1862-1936), a nationalist artist, was the pioneer of art world in Daegu area. He was a leading figure who left clear footprints in Korea’s art history from a historical view point. However, as the age in which he lived was an inflection point of historical transition that ranged from the late Joseon dynasty period to the Japanese colonial period, he was neglected without being noticed by any of art historians on Joseon dynasty art and modern art.
From early on, his high level of artistry gained much attention through his works that were widely scattered in Yeongnam area. So, the present author intends to dissect the true characteristics of his perspective on art or artistry, recognizing the need for accurate arthistorical diagnosis.
Having basically Joseon"s literati consciousness, Seo Byeong-o was a dignified nationalist who was deeply aware that the beauty of Joseon’s traditional ink-and-wash painting art was superior to Japan’s unique beauty that was representative of the concept of "art" he tried to preserve literati brush-ink-paper culture with pride against the flooding of Japan’s unique beauty. During the 1922 Joseon Art Exhibition, which implied the full-fledged expansion of Japanese culture, he organized Gyonam Poetry, Calligraphy and Painting Study Society and took the lead in protecting traditional Three Treasures "Poetry, Calligraphy and Painting." In his actual works, he added the beauty of ink-and-wash painting to his naturalistic musical tastes, and incorporated the artistry of Three Treasures "Poetry, Calligraphy and Painting" into a high artistic soul called "musical rhyme beauty."
From early on, his high level of artistry gained much attention through his works that were widely scattered in Yeongnam area. So, the present author intends to dissect the true characteristics of his perspective on art or artistry, recognizing the need for accurate arthistorical diagnosis.
Having basically Joseon"s literati consciousness, Seo Byeong-o was a dignified nationalist who was deeply aware that the beauty of Joseon’s traditional ink-and-wash painting art was superior to Japan’s unique beauty that was representative of the concept of "art" he tried to preserve literati brush-ink-paper culture with pride against the flooding of Japan’s unique beauty. During the 1922 Joseon Art Exhibition, which implied the full-fledged expansion of Japanese culture, he organized Gyonam Poetry, Calligraphy and Painting Study Society and took the lead in protecting traditional Three Treasures "Poetry, Calligraphy and Painting." In his actual works, he added the beauty of ink-and-wash painting to his naturalistic musical tastes, and incorporated the artistry of Three Treasures "Poetry, Calligraphy and Painting" into a high artistic soul called "musical rhyme beauty."
#일제시기
#석재 서병오
#교남시서화연구회
#미술
#반(反)일본미
#운율미
#근대수묵화
#시화일률
#사군자
#the Japanese colonial period
#Seokjae Seo Byeong-o
#Gyonam Poetry
#Calligraphy and Painting Study Society
#Art
#Anti-Japan beauty
#Rhyme beauty
#Modern ink-and-wash painting art
#Uniformity of poetry and painting
#Four Gracious Plants(chrysanthemum
#bamboo
#orchid
#and plum blossom)
목차
Ⅰ. 머리말
Ⅱ. 서병오의 주요 역사적 행적
Ⅲ. 시서화 3절을 음악적인 운율미로 상승시킨 고차적인 예술성
Ⅳ. 맺음말
참고문헌
Abstract
참고문헌 (15)
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UCI(KEPA) : I410-ECN-0101-2018-605-001175539