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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
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The works of early Qing painter Hong Ren (1610-1664) are characterized by the way their mountains and rocks are generally rendered using outlines and highly angular geometrical expression. This unique and unprecedented type of expression in painting went on to become highly influential in East Asian painting, in Korea and Japan as well as in China, signaling the beginning of a fashion for depicting mountains and rocks in geometrical style.
The habitual discourse holds that Hong Ren"s style was copied from that of Yuan artist Ni Zan, whom he admired. But I believe that it in fact originated in considerable part in the styles of Li Yongchang and Cheng Jiasui, pioneering painters of the Xin"an schools. I take the view that Gu Zhengyi and Dong Qichang of the Songjiang School, in particular, left many pioneering examples of such geometrical expression, which apparently constitute its origin. Moreover, I point out that Dong was an overall originator of successful new styles in the late Ming period, such as curling up the tips of rocks, and painting in the manner of ancient masters or making long landscape handscrolls.
I have suggested that Hong Ren was influenced not only by such regular paintings but by landscape print albums such as Wuyi zhilue (武夷志略), produced in Fujian Province in the late Ming period, and Xiao Yuncong"s Taiping sanshui tu (太平山水圖). Hong Ren was a native of She County, but became a monk after the fall of the Ming Dynasty and entered the Wuyi Mountains where he stayed for several years. He would therefore probably have had a chance to encounter Wuyi zhilue, which was published in Wuyi. I thus believe it is not unlikely that Hong Ren developed his idiom under the influence of prints.
Meanwhile, I have presumed that Wuyi zhilue, which was published in the late Ming period in 1619, may also have developed the fragmentary, geometrical expression found in several previous print albums. It appears that geometrical expression in other general paintings contributed to the publication of Wuyi zhilue, too. This is thought to have been a common phenomenon resulting from the application of new painting trends to print images by artists producing print underdrawings.
Hong Ren"s works inf luenced later general landscape paintings and landscape prints alike, developing continuously. The results of this process were reflected in the monumental print album Jieziyuan huazhuan (芥子園畵傳; “Mustard Seed Garden Manual”), published in 1679, while geometrical expression became a common feature of landscape paintings in China, Korea and Japan. Overall, it seems geometrical expression first appeared in conventional paintings, then was transferred to prints, then moved back to conventional painting again, spreading gradually through interchange between the two genres.
The habitual discourse holds that Hong Ren"s style was copied from that of Yuan artist Ni Zan, whom he admired. But I believe that it in fact originated in considerable part in the styles of Li Yongchang and Cheng Jiasui, pioneering painters of the Xin"an schools. I take the view that Gu Zhengyi and Dong Qichang of the Songjiang School, in particular, left many pioneering examples of such geometrical expression, which apparently constitute its origin. Moreover, I point out that Dong was an overall originator of successful new styles in the late Ming period, such as curling up the tips of rocks, and painting in the manner of ancient masters or making long landscape handscrolls.
I have suggested that Hong Ren was influenced not only by such regular paintings but by landscape print albums such as Wuyi zhilue (武夷志略), produced in Fujian Province in the late Ming period, and Xiao Yuncong"s Taiping sanshui tu (太平山水圖). Hong Ren was a native of She County, but became a monk after the fall of the Ming Dynasty and entered the Wuyi Mountains where he stayed for several years. He would therefore probably have had a chance to encounter Wuyi zhilue, which was published in Wuyi. I thus believe it is not unlikely that Hong Ren developed his idiom under the influence of prints.
Meanwhile, I have presumed that Wuyi zhilue, which was published in the late Ming period in 1619, may also have developed the fragmentary, geometrical expression found in several previous print albums. It appears that geometrical expression in other general paintings contributed to the publication of Wuyi zhilue, too. This is thought to have been a common phenomenon resulting from the application of new painting trends to print images by artists producing print underdrawings.
Hong Ren"s works inf luenced later general landscape paintings and landscape prints alike, developing continuously. The results of this process were reflected in the monumental print album Jieziyuan huazhuan (芥子園畵傳; “Mustard Seed Garden Manual”), published in 1679, while geometrical expression became a common feature of landscape paintings in China, Korea and Japan. Overall, it seems geometrical expression first appeared in conventional paintings, then was transferred to prints, then moved back to conventional painting again, spreading gradually through interchange between the two genres.
목차
Ⅰ. 머리말
Ⅱ. 송강파와 황산파 회화의 기하학적 표현
Ⅲ. 명말청초 산수판화의 기하학적 표현
Ⅳ. 명말청초 산수화와 산수판화의 상호 관련성
Ⅴ. 맺음말
참고문헌
〈Abstract〉
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