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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
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Kang Jin-hui(姜璡熙) was the 25th generation into the House of Kang in Jinju. Though his family had worked in medicine for generations, he majored in Japanese language and worked as translator civil servant due to the influence by his relatives.
His life can be broadly divided into time of civil servant and that of calligrapher and painter. He was assigned as a chambong in Sayeokwon(translation agency) at age of 35, and worked as hosting manager for the acting Korean minister to Japan and one of officers for the Korean minister to US in consequences due to hie excellent foreign language skills. He spent in US between 1887 and 1889 and painted and compose poems about his daily lives, making a painting book Misamukyeon(美槎墨緣). The paints included in painting book was the first touring paints in Joseon era. With them, the works painted on the birthday anniversary of the Crown Prince Lee, Choek and King Kojong are noticeable as they are Chuksuhwa(祝壽畵, paintings commemorating longevity) about nature, like Seongsang(星狀) or Samshinsan(三神山). Especially, as he presented his works of calligraphy and seal script to Yasda Beisai(安田米齋) whom he met in Yokohama(橫濱), Japan, or imprinted his own carved seal on his works, he seemed to start to learn seal-carving(篆刻) around at age of 30. From that time, he imprinted seals containing characteristics of the work and the information about the work place, and it would be his representing characteristic in his later works.
After resigned from his civil servant job, he started his activities as a calligrapher and painter at age of 61 in 1911. In Seohwa Misulhoe(書畵美術會, Association of Calligraphy and Painting), he tried to teach future generations, and participated in the meetings of calligraphers and painters, showing his continuous acts as that kind of artist. His paintings of blossoms and large stones show his succeeding traditional paintings of the late Joseon and sharing and accepting new modes of his time. Through his calligraphy works, the influences of BeiXue(碑學) school from Qing dynasty on his clerical script and seal script are seen. His main caligraphy work is Jongjeongwajeonmyeongmun-immodo(鐘鼎瓦甎銘文 臨摹圖, paintings of bronze ware and clay tile’s script) based on Jikseummun(金石文, inscriptions) around in 1913. It seems to be created by inspiration from the Korean calligraphers who copied the works of rubbed copy derived from China because the actual relics were fewer than China. In particular, Kang Jin-hui`s works are more than other calligraphers` works, and seem to play a leading role with excellent characteristics in materials, compositions, and methods.
As there are very few remaining Kang Jin-hui`s art works, it is tremendously difficult to analyze the modes by time, and yet it has a significance that there are noticeable works in the study of the modern arts. In particular, because the material which were painted on the works, the poems and phrases on screens, and seals fit to the purpose of creation consist of a set, a new mode of work consisting of a series of poems, caligraphy, painting, and seal is a characteristics differentiated from other calligraphers and painters in the same era.
His life can be broadly divided into time of civil servant and that of calligrapher and painter. He was assigned as a chambong in Sayeokwon(translation agency) at age of 35, and worked as hosting manager for the acting Korean minister to Japan and one of officers for the Korean minister to US in consequences due to hie excellent foreign language skills. He spent in US between 1887 and 1889 and painted and compose poems about his daily lives, making a painting book Misamukyeon(美槎墨緣). The paints included in painting book was the first touring paints in Joseon era. With them, the works painted on the birthday anniversary of the Crown Prince Lee, Choek and King Kojong are noticeable as they are Chuksuhwa(祝壽畵, paintings commemorating longevity) about nature, like Seongsang(星狀) or Samshinsan(三神山). Especially, as he presented his works of calligraphy and seal script to Yasda Beisai(安田米齋) whom he met in Yokohama(橫濱), Japan, or imprinted his own carved seal on his works, he seemed to start to learn seal-carving(篆刻) around at age of 30. From that time, he imprinted seals containing characteristics of the work and the information about the work place, and it would be his representing characteristic in his later works.
After resigned from his civil servant job, he started his activities as a calligrapher and painter at age of 61 in 1911. In Seohwa Misulhoe(書畵美術會, Association of Calligraphy and Painting), he tried to teach future generations, and participated in the meetings of calligraphers and painters, showing his continuous acts as that kind of artist. His paintings of blossoms and large stones show his succeeding traditional paintings of the late Joseon and sharing and accepting new modes of his time. Through his calligraphy works, the influences of BeiXue(碑學) school from Qing dynasty on his clerical script and seal script are seen. His main caligraphy work is Jongjeongwajeonmyeongmun-immodo(鐘鼎瓦甎銘文 臨摹圖, paintings of bronze ware and clay tile’s script) based on Jikseummun(金石文, inscriptions) around in 1913. It seems to be created by inspiration from the Korean calligraphers who copied the works of rubbed copy derived from China because the actual relics were fewer than China. In particular, Kang Jin-hui`s works are more than other calligraphers` works, and seem to play a leading role with excellent characteristics in materials, compositions, and methods.
As there are very few remaining Kang Jin-hui`s art works, it is tremendously difficult to analyze the modes by time, and yet it has a significance that there are noticeable works in the study of the modern arts. In particular, because the material which were painted on the works, the poems and phrases on screens, and seals fit to the purpose of creation consist of a set, a new mode of work consisting of a series of poems, caligraphy, painting, and seal is a characteristics differentiated from other calligraphers and painters in the same era.
목차
Ⅰ. 머리말
Ⅱ. 출신과 생애
Ⅲ. 관원 시기 작품
Ⅳ. 서화가 시기 작품
Ⅵ. 맺음말
참고문헌
Abstract
참고문헌 (47)
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