재조선 일본인 화가 구보타 덴난(久保田天南)과 朝鮮南畵院

서지정보

ㆍ발행기관 : 한국미술연구소 ㆍ수록지정보 : 美術史論壇 / 34권
ㆍ저자명 : 황빛나

영어 초록

Japanese Nanga painter Kubota Tennan(久保田天南, 1872-1940?), who stayed in Joseon(朝鮮) during the modern age, has not been known to the learned circle. Not only his birth date and the time he came to Joseon is ambiguous, but also his activities in Korea haven’t been known in detail. This study tried to disclose his personal history, painting style and awareness of Nanga(南畵) with help of the submitted work list of Joseon Nangain(朝鮮南畵院)’s exhibition which was established by Kubota Tennan in 1924 and the documents published in Japan.
Kubota Tennan came in to Joseon on November 16, 1909 and worked as a clerk in the government-general of Joseon from 1913–1927(for 14 years). Joseon Nangain was the biggest group of ‘Nanga’ (the Southern school of Chinese painting) among Joseon painting circles at that time, having 31 branches and 300 members throughout the nation. However most of the artists in the organization were not professionals but Japanese officers and their families, like Kubota Tennan, working in relation with Joseon government-general. There were some Koreans who joined the group and they were also local powers or officers like Kim Woo Jin(金宇鎭), Han Kyu Bok(韓圭復, 1881-1967), and Byun Joon Mo(邊濬模, 1889-1963). In addition, one of the distinctions of Joseon Nangain was that the Japanese members on the club didn’t exhibit their works on Joseon Art Exhibition, which was the most representative art exhibition those days. The artists who submitted works for the exhibition were all Koreans such as Kim Woo Jin and Han Kyu Bok. It means that while Japanese who were learning Nanga painting considered it as a means of socialization and culture, the exhibition was misused for winning the middle class of Joseon by using famous and powerful Koreans such as Lee Wan Young who was a high-ranking government official. He joined the occasion as judge.
So far, about 100 works of Nanga painter Kubota Tennan have been found in the painting list of Joseon Nangain and other documents. Looking into those works, we sense that his painting style for landscape painting were based on the painting style of literary men who painted mainly in a black and white manner of Nizan(倪瓚) during Chinese Yüan Dynasty. However, the works applied for Japanese Noble Art Club or Tokyo Peace Exhibition included the sketches of close-range natural view drawn on a big canvas of 6 meters in breadth. The painting style seemed similar to that of the exhibited Bunten(文展) works by Japanese old Nanga painting circle. Cases of animal painting, he used a very delicate and realistic style of painting in combination with Southern and Northern Painting Styles he learned from his master Nagusa Itpo.
Most of the Korean painters in Joseon Nangain mainly drew traditional landscape paintings based on pictorials such Mustard Seed Garden Manual of Painting. In this respect we can know that there was a difference from the previous painting style in that the landscape paintings submitted for Japanese Nangain or Joseon Art Exhibition were deviated from then-existing composition and technique of painting and introduced the realistic sketches of natural landscapes. Most of the exhibits consisted of the Four Gracious Plants (plum, orchid, chrysanthemum and bamboo). It signifies that regardless of the new or old school of Japanese Nanga of Kubota Tennan Nanga School as well as Korean Nanga painters began learning to paint the Four Gracious Plants. Therefore, Joseon Nangain had a characteristic that it was not a group to foster professional Nanga painters but combined the Korean and Japanese old Nanga faction supporters together to revive Nanga style of Japanese Old School Faction, which lost its power in Japan. It could be also interpreted that it was used as a means of soliciting the intellectual class of Joseon, who was hostile to Japanese studying in Joseon, through local powers and celebrities
Furthermore, the activities of Joseon Nangain and Kubota Tennan can be an important case in that they show the aspect of the cultural enjoyment and awareness of Nanga of Japanese middle class that had kept close relationship through the associations of painting and writings whose main objects of artistic works were the Four Gracious Plants painting and calligraphy.

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