| 구분 |
미술용어 |
표기
(권고안) |
국문 태서화영문 Taeseohwa한문 泰西畵중문 泰西之画(泰西画)일문 泰西画
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| 비고/구분 |
미술용어 |
| 개념정의 |
우리나라에 소개된 서양화를 가리킨다. 양화(洋畵), 서양국화(西洋國畵), 서국화(西國畵), 암화(菴畵)라고도 한다. 1720년에 청나라에 파견된 동지사행의 이의현(李宜顯, 1669~1745)이 ‘서양국화’를 구입하여 귀국했다는 기록은 서양화 전래와 관련하여 보이는 이른 예이다. 영･정조 연간에 연경사절단을 통해 유입되며 조선 후기의 회화작품에 영향을 미쳤는데, 화원화가 김두량(金斗樑)이 그린 〈흑구도〉를 비롯해 강세황(姜世晃)의 〈개성시가〉, 〈책가도〉 등이 그러한 예에 속한다. 개화기의 한국미술은 조선을 방문한 헨리 새비지 랜더(Henry Savage Landor), 휴버트 보스(Hubert Vos), 레오폴드 레미옹(Leopold Remion) 등의 서양화를 목도하며 인식의 변화를 보이기 시작했다. 1910년대에는 일본에 유학한 고희동(高羲東), 김관호(金觀鎬) 등이 사실주의와 인상주의가 절충된 일본식 서양화법을 소개하였다. 서양화는 구미(歐美)에서 새로 유입된 유화와 수채화를 통칭하는 용어로 일반화되었다. |
| 개념정의(영문) |
Taeseohwa is a term referring to Western-style painting after it was introduced in Korea. Other terms include yanghwa, seoyang gukhwa, seogukhwa, and amhwa. Early mentions of the introduction of Western-style painting include records that show that Lee Eui-hyeon (1669-1745), was a Dongjisa (winter solstice emissary), who was sent to Qing in 1720, and returned having purchased a \"seoyang gukhwa.\" Such paintings were introduced to Joseon through the diplomatic missions sent to China during the rule of king Yeongjo and Jeongjo, and the paintings influenced the art work of the late Joseon period. Examples include the Heukgudo of Kim Du-ryang, an artist at the Dohwaseo, and Gaeseongsiga and Chaekgado, by Kang Se-hwang. During the Korean enlightenment period of the late 19th century, Korean art experienced a shift in perspective with the introduction of the work of visiting artists such as Henry Savage Landor, Hubert Vos, and Leopold Remion. Go Hui-dong and Kim Gwan-ho, who had studied art in Japan, introduced Western-style painting learned in Japan in the 1910s, which combined realism and impressionism. At the Joseon Art Exhibition, held in 1922, separate categories were established for Eastern-style painting (the 1st division), Western-style painting, sculpture (the 2nd division), and calligraphy (the 3rd division). While Eastern art included Korean traditional art and Japanese art, the term \"Western art\" came to be used as an umbrella term for all styles of oil and watercolor paintings that were subsequently introduced through Europe and the Americas. Toward the end of the 1910s, the number of Western-style artists grew, leading to the establishment of groups such as the Goryeohwahoe and Goryeomisulhoe. |
| 개념정의(중문) |
泰西画指介绍到韩国的西洋画，亦称洋画、西洋国画、西国画或菴画。 1720年派遣到清朝的“冬至使行”李宜显（1669-1745）购买 “西洋国画”并带回国的记录是西洋画传入的早期事例。英·正祖年间通过燕京使节团流入并对朝鲜后期绘画作品产生了影响，画院画家金斗梁画的《黑狗图》、姜世晃的《开城市街》、《册架图》等都属于此类。开化期的韩国美术见证了来访朝鲜的亨利·萨维奇·兰德尔（Henry Savage Landor）、胡博·华士 (Hubert Vos）、利奥博德·雷米昂（Leopold Remion）等的作品，开始表现出认知上的变化。20世纪10年代，留学日本的高羲东、金观镐等對折中写实主义和印象主义的日式西洋画法进行介绍。1922年举办的“朝鲜美术展览会”下设第1部“东洋画”、第2部“西洋画·雕刻”、第3部“书\"。其中“东洋画”包括了韩国传统绘画和日本画，而“西洋画”则作為欧美新传入之油画和水彩画的统称词汇而普及。20世纪10年代后期开始，随着西洋画家的增加，“高丽画会”或“高丽美术会”等团体也开始陆续登场。 |
| 개념정의(일문) |
泰西画は、西洋画の導入初期に韓国で西洋画を称するために一時的に使われた用語である。洋画、西洋国画、西国画、菴画ともいわれた。1720年に清に派遣された冬至使行の李宜顯（イ・ウィヒョン、1669～1745）が「西洋国画」を購入して帰国したという記録は、西洋画の伝来に関するとみられる早い例である。英祖と正祖の時代に燕行使を通じて持ち込まれ、朝鮮時代後期の絵画作品に影響を与えており、画員画家の金斗樑（キム・ドゥリャン）が描いた 《黒狗図》をはじめ、姜世晃（カン・セファン）の《開城市街》、《冊架図》などがその例に属する。開化期の韓国美術は、朝鮮を訪れたヘンリー・サヴェージ・ランダー（Henry Savage Landor）、ヒューバート・ヴォス（Hubert Vos）、レオポルド・レミオン（Leopold Remion）などの西洋画を目にして、認識の変化を見せはじめた。1910年代には、日本に留学した高羲東（コ・ヒドン）、金觀鎬（キム・グァンホ）などが写実主義と印象主義を折衷した日本式の西洋画法を紹介した。1922年に開かれた朝鮮美術展覧会は、第1部「東洋画」、第2部「西洋画・彫刻」、第3部「書」に分かれており、このとき東洋画は韓国の伝統絵画と日本画を含む一方、西洋画は欧米から新しく入ってきた油絵と水彩画を指す用語として一般化された。1910年代後半に西洋画家が増えると、高麗画会や高麗美術会といった団体が登場した。 |
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