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An Jung-sik
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An Jung-sik : ウィキペディア英語版
An Jung-sik

An Jung-sik (안중식, 1861-1919), pen name Simjeon 심전, was an artist who lived at the very end of the Joseon period. He was a key person to pursue the transition that started from the "true view landscape" of Jeong Seon (1676-1759) towards the nowadays way of handling the fine arts (미술) in both Korea's.
==Life and Legacy==

An Jung-sik was born in Seoul and studied painting under Owon Jang Seung-eop (1843-1897). Together with Jo Seok-jin (1853-1920), he was a draughtsman attached to the 1881 Joseon embassy to China. During this one-year sojourn, he studied Chinese and the next coming painting trends. In 1900, he painted the royal portrait of King Gojong.〔.〕
In 1911, following the Japanese colonization of Korea, the Dohwaseo Bureau of Painting was dissolved. Then Yun Yeong-ki (1833-?) established the Gyeongseong Seohwa Misul-won 경성 서화 미술원 (Seoul Calligraphy and Fine Arts School). The name of this School was the first use of the term 'misul' for fine arts in Korea. Leading members of the faculty were An Jung-sik and Jo Seok-jin (1853-1920).〔.〕
Among the alumni of the Seohwa Misul-won were Kim Eun-ho 김은호 (1892-1979), Yi Sang-beom (1897-1972), No Su-hyeon (1899-1980), Park Seung-mu (1893-1980), Choi Wu-seok (1899-1965), all important figures in Korean modern Art.〔
In 1918, An Jung-sik organized the Seohwa Hyeobhoe 서화협회 (Association of Painting and Writing Artists). At his death, An was successed as president of the Association by Jo Seok-jin.
The annual exhibitions held from 1913 by the Seohwa Misul-won (and thereafter by the Seohwa Hyeobhoe) were a leading event in the Korean Fine Art sphere. For this reason, the occupying Government-General organised a concurrent event (Joseon Art Exhibitions) from 1922 onwards, before closing the Seohwa Misul-won Exhibitions in 1936.
An Jung-sik died in 1919. As a proof of his success in enforcing the new trends, he was, together with Jo Seok-jin, criticised one year later for "his paintings were conservative, lacking vitality and must be reborn" (Byeong Young-ro, Theory of Eastern Style Painting, 1920).

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