Earticle

초록

영어

This thesis studied Fengzikai’s cartoon in the early 20C society of China where the wave of reform and opening doors let in the mixture of eastern and western cultures altogether. Fengzikai lived in the era of turbulence as the main player and executor of and anti-feudalism, anti-imperialism and enlightening movement through new cultural aspects and ideas from the West after Chinese Revolution and 5.4 New Cultural Movement in China. Fengzikai agonized over reform and proper ways forward for Chinese paintings as a creator in the era of cultural transformation of China. As a result, Fengzikai came to look at cartoon or comics as a good media equipped with both the metaphoric characteristic of traditional Chinese paintings and reproductive and practical aspects of Western paintings. Fengzikai was fully committed to cartoonish expressions and cartoonish creation forms because he himself was, first, a writer but more fundamentally because he thought, as an art creator, it was the calling of the era that he converged and experimented Chinese and Western paintings together. In this context, Fengzikai’s cartoons showed diverse eastern and western ideas and art expressions in various forms in its subjects, materials and expression methods from the 1920s to 1949 when the Republic of China was established. Fengzikai’s cartoon reveals dynamic aspects as an acceptor of eastern and western art forms. During the China-Japan War in 1937, he was left his home for Gangseo region to naturally experience China’s mountains and waters. Based on this experience, he created a new style in his cartoon by introducing landscape based on traditional Chinese landscape painting style as called as landscape cartoon that reminds people of the grand mountains and rivers during the era of North Song Dynasty. Fengzikai went Japan to study and became a mover progressive acceptor of Western paintings. His experience of meeting Western painters and art works served as a motivation for him to publish diverse books on general aspects of Western art. And further on, he applied western styles to his own cartoons to experiment western techniques and forms. Good examples are Van Gogh or Millet. He borrowed Millet and Gogh’s structure and expression methods for his cartoon. He introduced Millet or Gogh for a motif for his cartoon works because he though these western painters had many similarities with China’s painters who were also scholars. As such, Fengzikai’s cartoons show the combination of eastern painting style that present letters, poem and picture together in one page and western style structure and expression forms at the same time. This is why we regard Fengzikai cartoons as an acceptor of eastern and western paintings as well as the work of comprehensive combination of writing and painting. Fengzikai cartoon art adopted benefits of east and west and managed them well in the formative aspect. Moreover, his work is well supported by own painting philosophy. Eastern culture, which underwent a relatively shorter period of modernization than the west, is still in agony over the restoration and expansion of tradition amid the broader cultural convergence. Subsequent studies are expected to look more into the implications of Fengzikai cartoons and idea on this present era.

한국어

펑즈카이(豊子愷/1895-1975)는 소시민의 생활상을 특유의 담담한 미감(美感)으로 표현한 중국 근현대 문학가이자 미술가, 만화가이다. 그 중 그의 만화는 중국의 전통화론과 서양화의 구도와 기법을 혼용하여 창작되었다는 평가를 받고 있다. 때문에 펑즈카이의 만화를 통해 동서양 미술의 수용양상, 즉 동서양의 화론과 시각체제가 어떠한 방식으로 계승되었는지 살펴보는 것은 의미가 있다. 본고를 위해 국내외에서 선행된 펑즈카이 연구에 대해 살펴본 결과 펑즈카이 만화에는 중국의 전통화론인 시서화일률 사상이 자리하고 있음을 확인할 수 있었다. 펑즈카이의 초기 만화부터 중기의 개인 만화집 그리고 말년 작업에 이르기까지 이러한 양상은 펑즈카이 만화에 일관되게 나타났다. 그리고 1937년 중일전쟁을 기점으로 펑즈카이는 강서지방의 산수를 접하며 중국 전통 산수화풍의 만화 또한 시도하게 된다. 한편 펑즈카이는 일본 유학시기를 거치며 적극적인 서양미술의 수용자가 된다. 귀국 후 그는 밀레나 반 고흐와 같은 서양화가를 중국에 소개하면서 자신의 만화창작에도 이들 작품의 구도를 차용, 서양화기법과 양식을 실험하기에 이른다. 펑즈카이 만화는 동서양의 미술론과 화법을 수용하는데 있어, 이를 조형적으로 실험하였을 뿐 아니라 이를 뒷받침하는 화론 역시 갖추고 있었다. 서구에 비해 짧은 근대기를 거친 동양은 여전히 동서양 문화의 융합 속에서 전통의 복원과 확장에 대한 고민을 진행 중이다. 펑즈카이 만화창작에 대한 연구는 같은 숙제를 안고 있는 우리 시대에도 시사하는 바가 크다.

목차

<논문요약>
 Ⅰ. 서론
 Ⅱ. 중국 근대만화의 대중화와 펑즈카이 만화
 Ⅲ. 펑즈카이의 동서양 예술론의 수용배경
  1. 펑즈카이의 동양예술론 수용배경
  2. 펑즈카이의 서양예술론 수용배경
 Ⅳ. 동서양 미술양식의 수용체로서의 펑즈카이 만화분석
  1. 펑즈카이 만화의 동양미술 수용양상
  2. 펑즈카이 만화의 서양미술 수용양상
 Ⅴ. 결론
 <참고문헌>
 Abstract

키워드

펑즈카이 만화 시서화일률 산수화 밀레 반 고흐 Fengzikai Cartoon Uniform of Poetry Calligraphy and Paintings Landscape Painting Millet Van Gogh

저자

• 채영 [ Chae, Young | 연세대학교 ]

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