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영어

Understanding the routes through which Korean paintings of the Joseon Period (1392~1910) were transmitted to Japan and how they have been treated until today is important as a basis for the study of the titles, artists, and characteristic features of the paintings as well as the artistic exchange and interrelations between Korea and Japan, and the Japanese appreciation of the Korean paintings produced during the Joseon Period. The Korean paintings of the Joseon Period in Japan today are largely divided into two types according to how they came to exist in Japan: The paintings of the first group are those produced by Korean painters visiting Japan and those of the second group the paintings imported from Korea. The paintings of the first group are largely the works painted in Japan by the artists who accompanied the royal envoys of the Joseon Dynasty sent to Japan for “communication”. Meanwhile, the paintings of the second group can be divided into those brought to Japan by the Joseon envoys who wanted to use them as gifts, those imported to Japan through public and private trades, the works privately taken to Japan by Japanese monks or merchants who accompanied the Japanese envoys sent to Joseon, the paintings looted out during the Imjin Waeran, the seven-year war waged between Korea and Japan following the Japanese Invasion of Korea in 1592 and, finally, those taken to Japan during the Japanese Occupation of Korea (1910~1945). These Korean paintings in Japan can also be divided into the originals, copies, and prints. The original paintings are largely collected by public and private museums, schools, and Buddhist temples although a majority is currently owned by private art galleries and individual collectors. As for the reproductions, a larger number was produced by Tani Buncho (1763~1841), a top artist of the Nanga style works in the Kanto region, and some members of his family and by Kano Tanyu (1602~1674) who published Tanyu shukuzu (Tanyu's Authentication Sketches). As for prints, representative works include the Kim Yu-seong's Sansudo (Landscape) engraved and printed by Watanabe Gentai, and the works contained in Wa-Kan meigaen (Great Paintings of Japan and China), Huashi huiyao (Art History), and Soukan gakaika hyousyu by Ooka Shunboku, Wakan meihitsugahou (Great Paintings of Japan and China) by Yoshimura Shuzan, and Koga bikou (Old Paintings) and Chousen shokaden (Paintings and Calligraphy of Joseon) by Asaoka Okisada.

한국어

일본에 소재하는 조선 회화가 어떠한 경로로 전래되고, 어떻게 존재하고 있는지를 규명하는 것은 이들 작 품군의 신원과 성격 등을 비롯하여 일본의 조선화 인식과 두 나라의 회화 교류상 및 관계성을 파악하는 기초 작업으로 중요하다. 일본에 있는 조선 회화는 조선의 화가가 방일하여 현지에서 제작한 것과, 조선에서 반출 된 화적으로 크게 나눌 수 있다. 현지 제작품은 통신사 수행화원이 訪日하여 그린 것이 대종을 이룬다. 조선 에서 반출된 화적은 사절단이 예물 등으로 사용하기 위해 가지고 간 ‘齎去品’과 동래에서의 공 ․ 〮사무역을 통 한 ‘求貿品’으로 건너 간 것을 비롯하여, 조선에 온 일본인 사절의 승려 및 상인 등 ‘入國倭人’들이 사적 교류 로 휴대해 간 것과, 임란 때 탈취해 간 것, 그리고 일제강점기에 유출된 것이다. 현재 일본에서 존재하는 조선 회화는 실물 화적과 모사본 및 판각본으로 분류된다. 실물 작품은 국립 및 공 ․ 사립 박물관과 일부 교육위원회 및 사찰에 수장되어 있는데, 화랑과 개인 소장품이 훨씬 더 많다. 모사본은 江戸후기 關東 南畵壇의 영수 谷文晁와 그 일문에 의해 제작된 것과 狩野探幽의 ≪探幽縮圖≫에 수록된 것 등이 있다. 판각본은 김유성의 산수화를 모각한 渡辺玄對의 김유성의 <산수도>를 비롯하여, 大岡春卜의 『和漢名畵苑』과 『畵史會要』, 『桑韓畵會家彪集』, 大阪 화사 吉村周山의 『和漢名筆畵宝』, 江戸시대 말 기 의 狩野派 화가인 朝岡興禎의 『古畵備考』의 ｢朝鮮書畵傳｣ 등에 전한다.