中國詩文을 주제로 한 朝鮮後期 書畵合璧帖 硏究 = Late Joseon's Albums of Calligraphy and Painting with the Chinese Poems and Proses as Themes

다국어 초록 (Multilingual Abstract)

For the literati during the Joseon period, the Chinese poems and proses from the past were considered the classics of literature in which they shared the same literary roots, rather than as foreign literature. Some of the works have long been taken up as subjects of painting and were appreciated in terms of their contents as well as their visual representation. However, with the influence of the artistic trends of Wu School of Ming, China, the relationship between the painting and the literature became closer, and the paintings with the Chinese poems and proses as themes grew in number. They were often made into albums with the work of painting placed on the right hand side, and the calligraphy placed on left.
In this dissertation, a focus was given to the albums of calligraphy and painting with the Chinese poems and proses as themes; the Qian-gu-zui-sheng-tie(千古最盛帖), the Wan-gu-qi-guan-tie(萬古奇觀帖), the Si-kong-tu-shi-pin-tie (司空圖詩品帖), the Xuan-yuan-he-bi-tie(玄圓合璧帖), the Bao-weng-xian-sheng-shu-hua-tie(豹翁先生書畵帖) and others. A close examination of each of the albums was made, studying the existing condition of the albums, their contents, and the calligraphy and painting. And the study led to the following conclusions.
First, the Qian-gu-zui-sheng-tie(千古最盛帖) was an album of calligraphy and painting from China containing 20 works of painting done by a Chinese artist called by the name, Wu Wang-chuan(吳輞川) and calligraphy done by literati-gentleman, Zhu Zhi-fan(朱之蕃) on the themes from the Chinese literary masterpieces. Zhu Zhi-fan(朱之蕃) brought the Qian-gu-zui-sheng-tie(千古最盛帖) with him to Joseon in 1606 when he visited the kingdom as Ming state envoy and presented it to King Seon-jo(宣祖, r. 1567-1608). The album gathered the keen interest of the Joseon's scholar-officials, and copies of the album were produced since the early 17th century through the mid 19th century. This can be confirmed in written records and the actual albums extant. At present, seven sets of what are presumed to be the copy of the Qian-gu-zui-sheng-tie(千古最盛帖) are extant. Through these albums, it can be understood that the Qian-gu-zui-sheng-tie(千古最盛帖) served as a model for the paintings of Chinese poems and proses ever since its introduction through the 19th century. It can be said it served almost like the Chinese prints. The Qian-gu-zui-sheng-tie(千古最盛帖) offered an attractive form of art work which can incite the literati's interest in poems and proses, make it easier for them to learn the literary works, and enable them to appreciate the paintings and calligraphy, thus satisfying their desire and taste for art and literature.
Second, the Qian-gu-zui-sheng-tie(千古最盛帖), as an album of calligraphy and painting which reflected the artistic trend of the Wu School of Ming, China, was introduced in Joseon before the Wu School paintings began making inroads into Joseon. It is meaningful that it provided a momentum for the production and popularity of the albums of calligraphy and painting in Joseon. Through the copies of the Qian-gu-zui-sheng-tie(千古最盛帖) extant, it can be grasped that the same iconography was repeatedly represented in slightly different painting style according to time of production and the artist involved. An attempt was made to compare and analyze the painting styles of each copies. Accordingly, a rough estimation of the production period was made.
Third, an examination of the two sets of the Wan-gu-qi-guan-tie(萬古奇觀帖), one in the collection of Samsung Museum of Art, LEEUM, and the other in the collection of the Museum Yamato Bunkakan, Japan, revealed that they are highly likely to have been produced in the 1720s in court for the crown prince or princes as an educational material. The albums contain the poems and proses and the related paintings of loyal retainers, didactic anecdotes from history and legend(故事), noted sites, and immortals. They show the possibility the Wan-gu-qi-guan-tie(萬古奇觀帖) is an integration of various different kinds of albums including an album of dutiful sons and daughters and an album of kings and ministers, as well as the Qian-gu-zui-sheng-tie(千古最盛帖). The basic iconography of the paintings was derived from China, but the Wan-gu-qi-guan-tie(萬古奇觀帖) unfolded a uniquely Joseon world of painting based on the capability of the court painters.
Fourth, through the investigation of the written records, year of birth and death and the activities of the court painters who were involved in the production of the Wan-gu-qi-guan-tie(萬古奇觀帖) were revealed; Han Hu-bang(韓後邦), Han Hu-ryang(韓後良), Jang Deuk-man(張得萬), Jang Gye-man(張繼萬), Yang Gi-seong(梁箕星), and Jin Jae-hae(秦再奚). Also, a close examination of their paintings contained in the Wan-gu-qi-guan-tie(萬古奇觀帖) revealed their painting styles. The court painters were generally conservative in character, however, they also attempted and introduced new painting styles different from those of the previous period. It could be confirmed that they serve as a link between the painting world of the 17th century when Che School painting style was prevalent and that of the 18th century represented by the Southern School paintings style. Among the painters, Yang Gi-seong(梁箕星) was a court painter well versed in the Southern School painting style, showing that the introduction of the Southern School painting style was not the monopoly of the literati painters in the early 18th century. Thus, this study will help fill the gap in the study of the history of Korean painting of the 18th century which has so far been concentrated in that of the literati painters such as Yoon Du-seo(尹斗緖) and Jeong Seon(鄭敾).
Fifth, the investigation of the albums of calligraphy and painting of the literati painters and calligraphers, the Si-kong-tu-shi-pin-tie (司空圖詩品帖), the Xuan-yuan-he-bi-tie(玄圓合璧帖), the Bao-weng-xian-sheng-shu-hua-tie(豹翁先生書畵帖), revealed that the production of the albums became diversified further in the mid-18th century. The Si-kong-tu-shi-pin-tie (司空圖詩品帖) deals with Tang poet, Si Kong-tu(司空圖)'s poetry discussing the poetic styles, while the Xuan-yuan-he-bi-tie(玄圓合璧帖) and the Bao-weng-xian-sheng-shu-hua-tie(豹翁先生書畵帖) are copies of the woodblock-printed pictures introduced from China or Tung Ch'i-ch'ang's "Album of Landscape in the manner of ancient masters." It can be understood that while the Qian-gu-zui-sheng-tie(千古最盛帖) which mostly contain Chinese proses was consistently being copied, the album of calligraphy and painting worked by literati painters were mostly dealing with Shih-i-t'u(詩意圖, paintings expressing the poetic ideas). The activities of Jeong Seon(鄭敾), Shim Sa-jeong(沈師正), Kang Se-hwang(姜世晃), and Yi Kwang-sa(李匡師) stand out, while there are also activities of Yoon Du-seo(尹斗緖), Yoon Deok-hee(尹德熙), Yi Bang-woon(李昉運), Kim Hee-gyeom(金喜謙), Yoon Je-hong(尹濟弘), Yi Eui-byeong(李宜炳), and Eom Han-bung(嚴漢朋) which can be seen through the paired leafs of calligraphy and painting. They are all artists of celebrity of the time. They unfolded a highly literati world of art with elegant tastes in which poetry, calligraphy and painting are brought to perfection.
Sixth, it can be understood that the production of album of calligraphy and painting with the Chinese poems and proses as themes began with the paintings by the professional painters and the calligraphy by the literati calligraphers. With the advent and participation of the talented literati painters and calligraphers in the mid 18th century, the standard of albums was brought higher imbued with more elegant taste and literati character. It can, thus, be noted that on the basis of the attainment of the literati painting of the 18th century, was the foundation paved by the professional painters.
The calligraphy and painting with the Chinese poems and proses as themes take one of the major areas in the history of painting of Joseon, and it represents the artistic attainment of the artists and connoisseurs of the Joseon period who pursued the level of three perfections. This dissertation confined the range of study to the works that satisfy two conditions; the Chinese poems and proses as theme and the album of calligraphy and painting as form. However, each of these areas are very comprehensive in scope, and consistent concern and multi-lateral researches should follow in the future.

목차 (Table of Contents)

• Ⅰ. 머리말 = 1
• Ⅱ. 書畵合璧의 개념과 효능 = 7
• 1. 書畵合璧의 개념 = 7
• 2. 書畵合璧帖의 효능 = 9
• Ⅲ. 明代 書畵合璧의 유행과 조선 전래 = 14
• 1. 明代 吳派의 書畵合璧帖 제작 = 14
• 2. 明代 書畵合璧 작품의 조선 전래 = 20
• 3. 조선후기 書畵合璧帖의 수용 배경 = 34
• Ⅳ. 《千古最盛帖》: 中國 帖을 臨摹한 書畵合璧帖 = 42
• 1. 朱之蕃의 來朝와 《千古最盛帖》의 전래 = 43
• 2. 《千古最盛帖》 臨摹本의 유행 = 49
• 3. 《千古最盛帖》의 유행 배경 = 85
• 4. 《千古最盛帖》의 畵風 = 93
• Ⅴ. 《萬古奇觀帖》: 조선왕실 제작의 書畵合璧帖 = 115
• 1.《萬古奇觀帖》의 구성과 書畵家 = 117
• 2.《萬古奇觀帖》의 제작 배경 = 138
• 3.《萬古奇觀帖》의 畵風 = 145
• Ⅵ. 文人書畵家의 書畵合璧帖 = 184
• 1. 鄭敾·李匡師의 《司空圖詩品帖》 = 184
• 2. 沈師正·李匡師의 《玄圓合璧帖》 = 198
• 3. 姜世晃의 《豹翁先生書畵帖》 = 202
• Ⅶ. 書畵合璧帖의 영향과 書畵合璧 형식의 확산 = 208
• 1. 書畵合璧帖의 영향 = 209
• 2. 書畵合璧 형식의 확산 = 221
• Ⅷ. 맺음말 = 232
• 참고문헌 = 242
• 도판목록 = 258
• 표 목록 = 269
• 도판 = 271
• 영문초록 = 339