葉淺予의 추억과 《戴愛蓮四十年代舞臺形象》

張俊九(Chang Junegu) 미술사연구회 2016 미술사연구 Vol.- No.30

Ye Qianyu(葉淺予, 1907~1995) was a pioneering figure in modern Chinese manhua(comics) and one of the leading painters of dance pictures in the modern-contemporary era, to the extent where he might be described as the Edgar Degas of East Asia. As an educator, too, Ye succeeded Xu Beihong(徐悲鴻, 1895~1953) as the longestserving head of Chinese painting at National Beiping Art College, the predecessor of China Central Academy of Fine Arts. Dai Ailian’s Stage Forms from the 1940s, a leading work by Ye in his final years, can be taken representative of his long life journey and artistic activity. In addition to its significance as one of Ye’s major works, this piece plays an important role in helping us understand the character of the dance pictures that account for the greatest single portion of his paintings and which he produced throughout his life. Also interesting is the fact that the sitter depicted is Dai Ailian(戴愛蓮, 1916~2005), Ye’s former wife and an eminent dancer. Dai Ailian’s Stage Forms from the 1940s, as its title demonstrates, is densely packed with images of Dai in action in the 1940s. It is largely thanks to old sketches and photographs that he had kept that Ye was able to depict images of his former wife in action some 40 years ago. Based on these, he created images that blended his own unique cartoon style with ancient figure painting styles. Dai Ailian’s Stage Forms from the 1940s can truly be regarded as a condensation of the knowhow that Ye had accumulated as an artist over several decades. In addition to importance as a work, however, it is significant for its symbolic value, located at the beginning and end of Ye’s oeuvre. This is because Ye began producing dance pictures after he met Dai. The reason Ye suddenly began painting his former wife, Dai, more than 40 years later was that he had never been able to forget her. Ultimately, Dai Ailian’s Stage Forms from the 1940s reflects Ye’s memories of and nostalgia for his love of Dai.

17세기 中國의 肖像畵 合作

張俊九(Chang Junegu) 미술사연구회 2014 미술사연구 Vol.- No.28

One notable aspect of China"s late Ming period is the relatively large number of portraits produced through collaboration among different artists. Such collaborative portraits are significant both in terms of technique and because of the relationships between the painters and the sitters. Though examples of collaborative portraits dating from the Yuan dynasty also exist, the practice began in earnest in the 17th century. The sharp increase in production of collaboration in portrait painting at this time was due to the trend for portraits in the format of landscapes with human figures. While impersonal ancestor portraits, in which the sitter sat upright against an empty background, were used in ancestral rites, portraits in the format of landscapes with human figures were highly sentimental in character, making them popular among literati who aspired to retire to quiet rural spots away from everyday life. The large proportion of canvas occupied by landscape in the latter type of portrait was an important factor in promoting natural collaboration between landscape artists and portrait artists. Another factor that drove the increase in collaboration was the social context of the time, which saw the emergence of talented portrait artists such as Zeng Jing(曾鯨) and his students. One important function of portrait collaboration in the 17th century was the increase it brought to the quality of works. In other words, works that combined the respective strengths of outstanding portrait painters and talented landscape artists attained new synergistic heights. In addition to the increase in the quality of works produced, an important aim of collaboration was the promotion of friendship between artists and sitters. Meanwhile, cases in which the identity of the portrait artist in collaborative paintings is not revealed suggest that the unnamed specialist portrait painters of the time held low status, as well as hinting at the possibility that the self-portraits of Xiang Shengmo(項聖謨) and Shi Tao(石濤) are not actually self-portraits. Few Joseon collaborative portraits have been discovered; this is because landscape with human figure-style portraits, unlike in China, were not particularly popular in Joseon. The handful of examples of collaborative Joseon portraits effectively have little to do with those of China from the 17th century onwards, except for the fact that they were produced through collaborations between pairs of well-known artists. This is because while landscape with human figure-style portraits in China were produced through collaboration between specialist portrait painters and literatus landscape painters, the Joseon collaborative portraits that have been discovered are works by two court painters, both capable of painting portraits alone.

北京故宮博物院 소장 〈昭陵六駿圖〉 연구

張俊九(Chang Junegu) 미술사연구회 2012 미술사연구 Vol.- No.26

Zhaoling Liujun Tu (昭陵六駿圖; “Painting of the Six Steeds of Zhaoling”), part of the collection of the Palace Museum in Beijing, is an extremely important work. This is not only because it is a rare example of a surviving painting from the Jin Dynasty (金代; 1115~1234), but also because the date of its creation, in the 1220s, is clearly marked at the bottom edge of the work. Works with dates recorded clearly in this way are important both because their certain dates establish their authenticity, and because they function as benchmarks for determining with credibility the characteristics of the paintings of their age, by way of comparison with generic works and written materials. The Zhaoling Liujun Tu is notable for the fact that it is based on the Zhaoling Liujun (昭陵六駿; “Six Steeds of Zhaoling”) the stone relief carvings of the same six horses (637~649) at the famous Zhaoling Tomb, where Emperor Taizong (太宗) of the Tang Dynasty is buried. Zhaoling Liujun Tu depicts six horses ridden by Emperor Taizong of the Tang Dynasty (599~649; personal name Lee Shimin) during his active days on the battlefield. An inscription added to the painting by scholar Zhao Bingwen (趙秉文; 1159~1232), together with knowledge of circumstances at the time confirm that the work was painted by court painter Zhao Lin (趙霖) on the orders of Emperor Shizong (世宗) of the Jin Dynasty. Though Zhaoling Liujun Tu was essentially based on the Tang stone relief carvings, it does show certain differences, such as in the way it expresses a division of the horses’ manes into three parts, a form of expression known as sanhua (三花), and the way it depicts their fetlock feathers, due to differences in medium and period. Although Zhao Lin based his depiction of the six steeds on the forms and style used by Yan Liben (閻立本), the artist who carved their stone relief counterparts, he did attempt to faithfully follow Tang painting styles, such as those of Tang master painter Han Gan (韓幹). The fact that Zhao Lin was able to make use of Tang styles is probably due in large part to the fact that the most of the art collection of Emperor Huizong (徽宗) of the Song Dynasty (1082~1135) had fallen into the hands of Jin. Emperor Shizong of Jin was similar in several aspects to Taizong of Tang, including the fact that both monarchs laid the foundations of their dynasties and both possessed military spirit as leaders; this led Shizong to follow Taizong. Shizong was infatuated by the political text Zhenguan Zhengyao (貞觀政要; “Essentials of the Government of the Zhenguan Period [the reign of Taizong]”), this interest appears to have extended to Taizong’s horses, as depicted in the stone relief carvings. Ultimately, Shizong’s commissioning of Zhao Lin to paint Zhaoling Liujun Tu, too, was probably due to his will to invoke Taizong of Tang, whom he simply could not emulate enough. Perhaps, when gazing at Taizong’s Zhaoling Liujun, Shizong felt a sense of pride at being just as talented a monarch and military man as Taizong.

16, 17세기 중국의 여성화가

장준구(Chang Junegu) 한국예술종합학교 한국예술연구소 2018 한국예술연구 Vol.- No.21