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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 第45號
- 발행연도
- 2017.12
- 수록면
- 251 - 279 (29page)
- DOI
- 10.14380/AHF.2017.45.251
이용수
초록· 키워드
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This paper traces the origins and background of the snow-scenery paintings of Ming-Qing China and Joseon Korea focusing on the subject matter in parallel with the techniques, themes and styles applied. It also attempts to shed light on the differences in perception and expression of Wang Wei (王維, 699–759) between Korea and China. I began with examining the five different winter landscapes in the painting album entitled Hwawon byeoljip (畵苑別集, Separate Collection of Garden of Paintings), which is believed to have been compiled in the early nineteenth-century Korea. The paintings in the album date back to the early, mid-, and late Joseon periods and display three distinct thematic categories: winter scenery as a part of a representation of the four seasons, visualizing descriptions of literary narratives, and creative copies of Chinese old masters. They prevailed at different times prior to the sixteenth century in China and later formed multilayered thematic phases in East Asian art world, starting in the seventeenth century.
The production of the winter scenes in the Ming-Qing and Joseon periods can be effected by the taste of Northern Song literati, particularly Su Shi (蘇軾, 1037–1101), which was associated with the preference of Tang poet-painter Wang Wei. Even though almost all of Joseon painters could not realize or understand anything about their surroundings, the trend of revivalism in Ming-Qing paintings and the expansion of art markets at the time made a considerable contribution to establishing the conceptions of the Southern School and its practices, which was believed to have begun by Wang Wei. The socio-cultural current and material culture based on commercial capitalism that were promulgated throughout East Asia from the seventeenth throughout nineteenth centuries, following its emergence in the Jiangnan areas in the late sixteenth century, resulted in the diffusion of these thematic and stylistic phases throughout Korea, China, and Japan. As one component of the eventual results, Joseon painters created these five winter landscapes compiled in Hwawon byeoljip that represent one facet of the traditions of Korean painting.
Another noteworthy point is that the influence of Wang Wei can be found dispersed throughout these different periods. Painters from succeeding generations venerated Wang Wei as a virtuoso of snowy landscape painting, as a talented literatus interested in composing poems and practicing Zen, and as an exemplary practitioner of the concept of unifying poetry and painting. This appreciation of Wang Wei not only stimulated major technical, iconographical, and stylistic advances in the depiction of snow scenery in Chinese paintings, but also broadened the capability of painting to express an artist’s thoughts, volition, and emotions. It is quite interesting that such recognition of Wang Wei is not based on historic fact, but from a preference of later intellectuals for the poetic Zen contemplations of Chinese literati like Su Shi. What is more, surrounding some creative painters like Wen Zhengming (文徵明, 1470– 1559), Xu Wei (徐渭, 1521–1593), Dong Qichang (董其昌, 1555–1636), and Shitao (石濤, 1642–1707) were at times merchant groups, particularly Huizhou merchants, who could have supported their art in various ways.
The production of the winter scenes in the Ming-Qing and Joseon periods can be effected by the taste of Northern Song literati, particularly Su Shi (蘇軾, 1037–1101), which was associated with the preference of Tang poet-painter Wang Wei. Even though almost all of Joseon painters could not realize or understand anything about their surroundings, the trend of revivalism in Ming-Qing paintings and the expansion of art markets at the time made a considerable contribution to establishing the conceptions of the Southern School and its practices, which was believed to have begun by Wang Wei. The socio-cultural current and material culture based on commercial capitalism that were promulgated throughout East Asia from the seventeenth throughout nineteenth centuries, following its emergence in the Jiangnan areas in the late sixteenth century, resulted in the diffusion of these thematic and stylistic phases throughout Korea, China, and Japan. As one component of the eventual results, Joseon painters created these five winter landscapes compiled in Hwawon byeoljip that represent one facet of the traditions of Korean painting.
Another noteworthy point is that the influence of Wang Wei can be found dispersed throughout these different periods. Painters from succeeding generations venerated Wang Wei as a virtuoso of snowy landscape painting, as a talented literatus interested in composing poems and practicing Zen, and as an exemplary practitioner of the concept of unifying poetry and painting. This appreciation of Wang Wei not only stimulated major technical, iconographical, and stylistic advances in the depiction of snow scenery in Chinese paintings, but also broadened the capability of painting to express an artist’s thoughts, volition, and emotions. It is quite interesting that such recognition of Wang Wei is not based on historic fact, but from a preference of later intellectuals for the poetic Zen contemplations of Chinese literati like Su Shi. What is more, surrounding some creative painters like Wen Zhengming (文徵明, 1470– 1559), Xu Wei (徐渭, 1521–1593), Dong Qichang (董其昌, 1555–1636), and Shitao (石濤, 1642–1707) were at times merchant groups, particularly Huizhou merchants, who could have supported their art in various ways.
목차
Ⅰ. 머리말
Ⅱ. 四時景觀 중의 冬景과 王維의 雪景
Ⅲ. 문학적 서사의 圖像化와 破格
Ⅳ. 倣古的 접근의 다양성과 개별성
Ⅴ. 맺음말
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