以堂 金殷鎬의 臣字款 회화

Shinja-gwan(臣字款) Paintings by Kim Eunho(金殷鎬, art name 以堂)

신자관 회화란 ‘臣’, ‘謹寫’, ‘謹畵’, ‘敬寫’의 표기와 화가 이름이 함께 적힌 왕실 미술로서, 대한제국기 부터 순종 승하 전까지 집중 제작된 시각물을 뜻한다. 김은호의 신자관 회화는 ‘癸亥(1923)’ 간지의 <순종 어진 초본>, ‘戊午(1918)’ 간지의 병풍화, ‘庚申(1920)’ 간지의 창덕궁 대조전 付壁畵 및 기타 회화 등으로 분류된다. ‘계해’ 간지의 <순종 어진 초본>은 황실 사진사로 활동한 이와타 카나에(岩田 鼎, 1870~?)가 1909년 촬영한 사진을 보고 그렸으나, 어떤 정본을 위한 초본인지 분명하지 않다. 현재 김은호의 ‘계해’ 간지 초본이 여러 점 남아 있어, 김은호 자신이 소지한 초본을 1923년에 일괄 서명했을 가능성도 적지 않다. 김은호는 중국 화보와 스승 안중식의 가르침을 토대로 무오년 병풍화 3점을 완성하였다. 이는 고종의 환후를 위해 왕실에 헌상되어 함녕전에 진설되었을 것으로 보인다. 또한 김은호는 1920년 중건된 창덕궁 부벽화 제작에 참여하여 <백학도>를 담당하였다. 대조전 서벽에 걸린 <백학도>는 ‘海巖群鶴’을 그린 화려한 진채화이다. 김은호가 ‘庚申菊秋節’, 즉 1920년 가을에 그린 신자관 회화 2점도 전해진다. 이는 여타 작가의 그림과 함께 창덕궁 대조전 낙성식을 축하하며 순종에게 헌상된 것으로 추정된다. 김은호가 왕실에 바친 회화는 간결하면서도 화사하고 장식적이다. 청년 김은호의 무르익는 필력이 돋보이는 군주의 시각물인 셈이다.

The Shinja-gwan(臣字款) paintings were royal artwork on which the names of their artists were written alongside the notations ‘臣’, ‘謹寫’, ‘謹畵’, ‘敬寫’. Such was a message to the king that wrote,(“Thy loyal servant [the name of the artist] humbly tributes.”) The Shinja-gwan paintings were visuals that were intensively produced since the Korean Empire era until the demise of Emperor Sunjong. The Shinja-gwan paintings by Kim Eunho are categorized as the following: the draft of the royal portrait of Emperor Sunjong of the Gyehae Year (1923), the folding screen of the Muo Year (1918), the mural on the wall at the Daejojeon of the Changdeok Palace of the Gyeongsin Year (1920), and other paintings. The draft of the royal portrait of Emperor Sunjong of the Gyehae Year(possessed by the National Museum of Modern and Contemporary Art) was drawn from a photograph taken in 1909 by an imperial photographer Kanae Iwata (岩田 鼎, 1870~?). However, the original manuscript for which this draft was meant is unclear. Under these circumstances, several drafts of the Gyehae Year drawn by KIm Eunho remain to date. This suggests that Kim Eunho himself may have collectively signed in 1923 all the drafts that he owned.Based on Chinese pictorials and the teachings of his teacher Ahn Joongsik, Kim Eunho completed three pieces of the folding screens of the Muo Year. These pieces appear to have been set up in the Hamnyeongjeon, so that they could be presented to the royal family in order to wish for the recovery of Emperor Gojong. Also, Kim Eunho participated in the production of the mural at the Changdeok Palace (the palace rebuilt in 1920) and took charge of Baekhak-do(the Painting of the White Cranes). His Baekhak-do, hung on the Western Wall of the Daejojeon was a splendid painting that depicted a sea, a boulder, and a flock of cranes. In this situation, ‘Gyeongsin Gukchoo-jeol(庚申 菊秋節)’, the two paintings, he painted in the fall of 1920, have also been passed down to date. These paintings, along with those by other artists , have been presumably included in the production of a folding screen and presented to Emperor Sunjong to celebrate the reopening of the Daejo Court of the Changdeok Palace. The paintings presented by Kim Eunho to the royal family are concise but bright and decorative. They are visual works for a monarch in which the ripe writing of the young Kim Eunho stands out.