朝鮮時代 九曲圖 硏究

다국어 초록 (Multilingual Abstract)

The purpose of this thesis is to elucidate the significance of Kugok-to(Nine-Bent Stream Painting,九曲圖),which is a kind of landscape painting containing a specific theme, in the history of Korean art, by means of examining the philosophical background and the developing process of style of Mui kugok-to(武夷九曲圖) introduced from China in 16th century.

Mu'i'kukokdo is a landscape painting of Nine Gorges of Mt. Mu'i where the most famous neo-confucianist, Chu Hsi (朱熹,1130~1200) lived in retirement. Therefore, Nine-bent Stream of Mt. Mui (Mui kugok, 武夷九曲) were considered as the cradleland of Neo-Confucianism, and Mui kugok-to, the pictorial symbol for understanding his life and paying reverence to him.

After this Mui kugok-to was introduced in Korea with Neo-Confucianism, it was preferred than in China. It was the reason why Choson(朝鮮) Dynasty adopted Neo-Confucianism as the principle of na-tional foundation.

This thesis focussed on 18s of Kugok-to made in Choson period. In the chronological point of view, it covered four centuries (from 16th cen tury to 19th century): 16th century was regarded as introducing period: 17th century, transitional period for korean modification: 18th and 19th century, developing period of variety. Using those objects and chrono-logical categories, this thesis traced the developing process of style of Kukokdo through four chapters.

First chpter examined the theme and the character of Mui kugok-to from the documents relating with the origin of Chinese Mui kugok-to. It could be said that the theme of Mui kugok-to was to express the respect for Chu Hũi and to remind his moral admonition. For this reason, generally speaking, the concern for individuality of Chu Hũi was more important than the esthetic experience of landscape. In addition, the expression of true-view landscape also could be significative only as it corresponded to the sentiment of Mui dogasi(the boating song of Mt. Mui,武夷權歌詩),

Second chapter investigated what was the cultural basis of scholars 16th century in Choson for understanding Mui kugok-to. It was the philosophical development of Neo-Confucianism in early Choson society: the dissemination of the works of Chu Hũi, the rise of concerns about the great thinker. So there were two opposite methods for interpreting Mui kugok-to according to the points of view to Mui doga(武夷權歌); simple description of scenery or philosophical initiation in Neo-Confucian world-view.

In third chapter, it was researched what moment formed korean characteristics of Mui kugok-to after 17th century, which had been origi-nally based on chinese style, and what was the representatives. The most remarkable feature of Kukokdo in 17th century was that thenceforth it was painted from true-view landscape style. The early shape was tried out in Kosan kugok-to(高山九曲剧), and up to Kokun kugok-to(谷雲九曲 )it broke the chinese style, became the lead of true view landscape painting(黄景山水畵)。

Forth chapter dealt with the stylistic trend of Kukokdo in late Choson, concentrating on some works made in 18th, 19th century. The adoration for Chu Hũi was maintained until the end of Choson. And returning to Mui kugok-to was the most distinctive feature.

In 18th century, there appeared such works that show the expressional polarization between scholastic style of Kukokdo and official style of Kugok-to. At that period, it could be said that Mui kugok-to was deprived of primary character in diversification.

Paintings, presumed to be made in 19th century, had much variation in interpretation as well as in style. Above all, some paintings were independent of the Neo-Confucian sentimnent. Secondly, each style of Kugok-to was handed down to each doctrinal school. For example, the scholars of Yeongnam(南) “Southerners"(南人)faction persisted tradi tional Mu'i'kukokdo. On the contrary, the scholars of Westerners(西人) "Old Doctrine"(老論) faction made only Kosan kugok-to.

In conclusion, we could affirm the signification of Kugok-to in the history of Korean art from that it gave a opportunity to seek a new genre of landscape painting to the Neo-Confucian scholars in spite of philo-centric, exclusivist culture of Choson society, that it reflected the developing process of various styles of painting in the typical model of ideal Kugok-to.