역사학 : 고려시대궁중회화(高麗時代宮中繪畵)의 성격(性格)과 특징(特徵)

배원정 대구가톨릭대학교 인문과학연구소 2010 인문과학연구 Vol.0 No.14

Goryeo paintings do not remain in big numbers, and even the remaining few do not have definite creation dates or authenticity proof, which makes research on Goryeo`s court paintings even more challenging. Paying attention to the fact that Goryeo`s court paintings do have common elements with other general paintings, however, this study set out to collect and analyze data about Goryeo paintings studied to date and examine the nature and characteristics of Goryeo`s court paintings in details. Goryeo is regarded as the dawning in the history of Korean paintings since it was Goryeo that Korean paintings started to witness the full-scale spread of general landscape paintings, paintings of flowers and birds, and figure paintings. Influenced by Buddhism in early Goryeo and Sung Dynasty`s Sung Confucianism imported since middle Goryeo, Goryeo`s social perceptions began to change starting in the middle period. Goryeo paintings also started to show different trends from before; Goryeo`s active exchanges with Northern Sung resulted in the transmission of Sung`s advanced and various painting trends and systems including Kuo Hsi`s style and literati painting; a group of painters called dilettante literati artists emerged; paintings for Mo-xi(joy with Chinese painting) appreciation made a full-blown debut; the Hwa-guk was founded and the painters played remarkable roles; and a tradition of Silgyeongsansuhwa(real scenery landscape painting) in the family of Myeongseungmyeongsodo(the painting of noted scenery and celebrated locality) was also created. In addition to those trends and tendencies that deserve some attention, Goryeo paintings claim breakthrough significance that distinguishes them from their predecessors in that they made the foundation of medieval development in Korean paintings. In Goryeo, it was also checked out that Dohwawon was established which produced painters and governed Hoisas. Thus it provides crucial clues about Goryeo`s court paintings. Given that Goryeo`s court paintings are the predecessors of Joseon`s court paintings and their base since court paintings place great value on precedents, it is critical to examine their concepts, nature, and characteristics. The study first examined the background behind the creation of Goryeo`s court paintings. In Goryeo, the ancient traditions, which used to prosper on the basis of Buddhism, were inherited and developed more sophisticated and splendid. New trends never seen before started to emerge in general paintings. Among them, the tendency of Hanmuk as a literary man and the theory of literati paintings enabled them to form a medieval painting practice and promote the growth of general paintings in full scale. The nature and characteristics of Goryeo`s court paintings that were created with such a background are as follows; first, the practice, interest, and support of the nobility and the gentry provided an important base for the creation of Goryeo`s court paintings and served as one of the critical factors to define their nature. Then their connections with China were analyzed. During Goryeo, not only the civil ministers but also traders imported and appreciated diverse Chinese paintings through the sea and land routes, and such an atmosphere must have affected Goryeo`s court paintings. Finally, their connections with Confucianism, Buddhism, and Taoism were investigated. Focusing on the fact that the Goryeo culture was based on Confucianism, Buddhism, and Taoism, the investigator demonstrated that there were influential relationships between the court paintings and Confucianism, Buddhism, and Taoism. The research findings show that Goryeo`s court paintings were connected to and inherited to Joseon`s court paintings and served as an important fertilizer in the systematic growth of court paintings.

正祖代 宮中의 城市圖 제작과 함의

윤민용 서울대학교 규장각한국학연구원 2023 한국문화 Vol.- No.103

The cityscape painting, a significant painting subject in East Asian art history, serves as a visual testament to the urban landscapes of a premodern era. These artworks intricately capture various facets of urban life in premodern times, illustrating bustling streets teeming with denizens, including merchants, buyers, inquisitive onlookers, laborers, entertainers, and even grand processions. Termed “Seongsido” during the Joseon period, cityscape painting was a visual narrative that took root later in Korea compared to China and Japan, where rapid urbanization and demographic concentration prompted its earlier emergence. Typically commissioned by sovereign rulers, cityscape paintings in premodern East Asia, such as the renowned “Qingming Scroll” of the Northern Song era, symbolized a harmonious reign marked by urban orderliness. However, in Korea, cityscape painting did not emerge until the late 18th century, coinciding with King Jeongjo’s reign. Previous research primarily approached Joseon cityscape painting as a genre painting. This study argues that the sudden appearance of Seongsido during King Jeongjo’s reign requires a careful examination within the context of court painting to understand its unique characteristics and multiple meanings. To elucidate the circumstances surrounding the unprecedented rise of cityscape painting during King Jeongjo’s reign, this study conducts a comprehensive analysis. It commences with an examination of the initial ten poems of “Seongsijeondosi” ((a poem on cityscape painting) cityscape painting poem), composed in 1792 by Gyujanggak agents and high-ranking officials at King Jeongjo’s request. Subsequently, it investigates the themes associated with cityscape paintings and reviews records of the Chabi Daeryeong Hwawon (court painters in waiting) in the Naegagillyeok (Cabinet Calendar). The findings not only confirm a consistent predilection for cityscape painting among late Joseon monarchs but also underscore that Seongsido was a special painting subject for the select audience within the palace, comprising the king and a few literati officials. Notably, King Jeongjo, known for his scholarly pursuits and in-depth study of Song dynasty history, established the Gyujanggak, emulating the institutional framework of the Northern Song dynasty. His recognition of the potent visual language and the tradition of producing and admiring auspicious paintings in the Northern Song court prompted him to task court painters with reviving the auspicious cityscape as a subject. Though these court painters may have referred to mass-produced reproductions of the Qingming Scroll from the Ming and Qing dynasties during their creative process, the cityscape paintings of late Joseon firmly rooted themselves in the tradition of East Asian cityscape art, particularly within the context of courtly artistic expression. Consequently, the cityscape painting commissioned in 1792 by King Jeongjo’s decree effectively embodied his aspiration for a peaceful reign (Taepyeongseongdae) and a society marked by profound unity (Daedongsahoe), ideals that he ardently pursued throughout his reign.

숙종대 역사고사도 제작과 <사현파진백만병도(謝玄破秦百萬兵圖)>의 정치적 성격

이성훈 한국미술사학회 2009 美術史學硏究 Vol.262 No.262

<사현파진백만병도(謝玄破秦百萬兵圖)>에는 숙종의 감상을 거쳤음을 증명하는 어인(御印)이 찍혀 있다. 인물, 말, 산수 표현에는 꼼꼼하고 숙달된 필치가 간취되며 청록 안료와 금니(金泥) 등이 그림 채색에 사용되었다. 이러한 사실은 이 그림이 숙종대 도화서 화원에 의해 제작된 궁중회화일 가능성을 시사한다. 그림 제목만을 놓고 볼 때 <사현파진백만병도>는 중국 위진․남북조시대 비수(淝水) 부근에서 동진(東晋) 장수 사현(謝玄, 343~388)이 전진(前秦) 왕 부견(苻堅, 357~385)이 이끄는 백만 부대를 격파한 장면을 묘사한 그림이다. 그러나 좀 더 정확히 말하면 이 그림은『진서(晋書)』둥의 중국 역사서에 기술된 장면, 즉 부견과 그의 병사들이 비수 전투에서 동진군에 패하여 달아나는 모습을 형상화한 역사고사도로 추정된다. 이를 반영하듯 그림 속 모든 표현 요소들은 위 사서(史書)의 내용을 충실히 반영하고 있다. 그림 수장가 혹은 감상가로 널리 알려져 있는 숙종(肅宗, 1674~1720)은 <사현파진백만병도>와 같은 역사고사도 제작을 자주 지시하였다. <제위왕봉즉묵대부팽아대부도(齊威王奉卽墨大夫烹阿大夫圖)>, <황룡부주도(黃龍負舟圖)> 등의 사례에서 확인할 수 있듯이 숙종은 자신의 정치적 행위의 정당성을 강조하거나 선전하기 위한 하나의 방편으로 역사고사도를 제작해 활용하였다. 이러한 측면에서 볼 때 <사현파진백만병도>는 부견의 패배 장면을 시각적으로 이미지화하여 부견이 실천하지 못했던 내치(內治)와 자강(自强)의 중요성을 부각시키는 한편, 노론(老論)과 소론(少論)의 갈등으로 점철된 당시 정국의 혼란을 매듭짓고자 했던 정치적 의도를 가지고 숙종이 그 제작을 지시한 그림으로 사료된다. 따라서 <사현파진백만병도>는 조선시대 회화가 가졌던 공리적 기능을 잘 보여주는 사례이자 조선시대 국왕이 통치의 한 수단으로 회화를 활용했음을 보여주는 사례로 파악될 수 있을 것이다. <사현파진백만병도>는 양식과 화풍 면에서도 조선후기 회화사에서 중요한 위치를 차지한다. 이 그림에는 전통적인 요소에 더하여『황명영렬전(皇明英烈傳)』등 명대 소설 판화 및 명대 산수 판화 등으로부터 영향 받은 새로운 요소를 반영하고 있다. 또한 화풍 면에서《역사고사인물화책(歷史故事人物畵冊)》등 18세기 초반에서 18세기 중반 사이에 주로 도화서 화원들에 의해 제작된 것으로 추정되는 작품들과도 연관되는 측면을 보인다. 그러므로 <사현파진백만병도>는 숙종대 궁중회화의 회화적 특징을 잘 보여줄 뿐만 아니라 조선시대 회화사에서 숙종대 궁중회화가 차지하는 위치와 중요성을 재확인시켜 줄 수 있는 중요한 작품으로 평가될 수 있을 것이다. Xie Xuan Defeats Fu Jian’s One Million-strong Force, an impressive war scene on an eight-panel folding screen from the early 18th century, bears a royal seal on one corner, indicating that King Sukjong (r. 1674-1720) viewed and appreciated this painting. This brilliantly-colored work, made striking by the contrast of deep green and gold, is executed with masterly brushstrokes, providing fine details of human subjects, horses and the surrounding environment. The quality of execution suggests that this unattributed painting was the work of court painters who lived in Sukjong’s time, possibly belonging to the dohwaseo, the royal bureau of painting. As can be gathered from its title, the folding screen painting depicts the scene of a famous battle from the Wei, Jin and South and North Dynasties of China, which took place near the Fei River. In this battle opposing Eastern Jin and Former Qin, Xie Xuan’s (343-388) army decimated a large contingent of enemy forces led by King Fu Jian (357-385). In visualizing this battle, the history painting faithfully follows the accounts provided in Jinshu (History of Jin) and other ancient Chinese history books. Fu Jian and his troops are, for instance, shown retreating in panic; the state of chaos mentioned in written accounts as a measure of the magnitude of defeat suffered by Former Qin. A monarch exceptionally fond of paintings, Sukjong frequently ordered works on historical themes. Sukjong commissioned history paintings not just out of personal predilection, but with political agendas in mind. Works such as King Wei of Qi Bestows Titles on Official Jimo and Has Official A Boiled to Death or The Yellow Dragon Carries the Boat’ are cases in point. Xie Xuan Defeats Fu Jian’s One Million-strong Force, offering a vivid visual representation of Fu Jian’s defeat, underscored the importance of internal political stability and a strong defense posture, and is likely to have been meant by Sukjong as a message to his divided court, which was torn by political bickering between the Noron and Soron parties. This folding screen painting, therefore, is an excellent testimony to the utilitarian role of paintings in Korea of Joseon period, as well as the active political exploitation of them by the rulers of this dynasty. Xie Xuan Defeats Fu Jian’s One Million-strong Force occupies also an important place in the history of late Joseon painting for the stylistic influences and affinities it exhibits. This work, while being in the traditional style of painting of its genre, reveals the influence of woodprints from the Ming Dynasty of China, particularly of Huangmingyingliechuan. Meanwhile, this painting shows affinities with works on similar historical themes from the early to mid-18th century, attributed to court painters, and notably with Book of Portraits of Historical and Legendary Figures. Finally, the value of this folding screen painting is inestimable also as a window into court painting during Sukjong’s reign, a high point in the history of this genre of Joseon painting.

LA County Museum of Art 소장 香林寺 <羅漢圖>

신광희 동악미술사학회 2010 東岳美術史學 Vol.0 No.11

Hyangnimsa Arhat Painting in L.A. County Museum of Art is Deoksewi, 153rd of the 500 Arhats. This work is one of the two hundred scrolls of paintings commissioned by Queen Dowager Munjeong who wished for the health and recovery of her son, King Myongjong and put in Hyangnimsa Temple in Samgak Mountain near the Court Palace in 1562 in Joseon In early Joseon Arhat cults were particularly popular in the court in times when they hoped longevity because arhats had supernatural power, increasing the length of life of people. Hyangnimsa Temple had been private place of the court since Goryeo Dynasty and Queen Dowager Munjeong. This painting is a rather simple painting in therms of the iconography and convey a sense of thematic overload. This form and type inherit mostly from the Goryeo and Hyangnimsa arhat painting in LACMA is especially similar the painting Bosu, 282nd of 500 Arhats paintings consisting of 500 panels in Goryeo. In addition, each name of 500 arhats also inherits tradition of Goryeo as we looked at the name written in Obaekseongjungcheongmun, publication about ritual calling in arhats. I don't know yet only 200 panels not 500, but it is beyond doubt that arhat paintings in Hyangnimsa Temple inherit tradition of Goryeo, especially form of comosition, iconography, and each name of arhats. This painting is that composition is stable, arhat's face is like realistic, and landscape with ink is expressed. We don't know who painter of this work was yet, but maybe he was in charge of buddhist paintings of the court. Meanwhile at that time temples enshrining court- sponsored Buddhist paintings spread nationwide, leading to commoners learning about the court style, and also influencing the styles of Buddhist paintings sponsored by the public, which led to reflection of the styles of court-requested paintings. The Arhat portrait in the collection of LACMA also had a non-negligible influence on privately-sponsored Buddhist paintings from subsequent eras. It is very important that this is the only painting from the group in Hyangnimsa Temple and during early Joseon period known to survive, too. 미국 LA County Museum of Art 소장 香林寺 <羅漢圖>는 조선왕조 1562년에 明宗의 모후였던 文定王后가 명종의 건강과 자손번창을 기원하며 발원한 香林寺 <羅漢圖> 200점 중第153 德勢威尊者圖이다. 조선전기에는 주로 왕실을 중심으로 나한신앙이 성행하였는데 이 시기에는 특히 치병과 장수를 기원하는 목적으로 이루어진 나한불사가 많은 편이었고 향림사 <나한도> 역시 그러한 성격을 지니고 있다. 향림사는 나한도량이었다는 구체적인 기록은 남아 있지 않지만 고려 때부터 왕실의 원찰로 알려져 있으며 문정왕후는 이곳에 나한도 200점을 봉안함으로서 그 功德으로 명종이 無病 長壽할 수 있기를 바라고 있었던 듯하다. 이 작품은 화면 안에 羅漢만을 크게 부각하여 그렸는데, 이렇듯 나한이라는 주제만을 극대화시켜 표현하는 형식은 이미 고려시대 오백 폭 <五百羅漢圖>에서도 확인되며 고려본 중 특히 <第282 寶手尊者圖>와는 도상까지 상당히 비슷하다. 또한 尊名도 고려의 것을 계승하고 있는데, 이는 1807년 高麗의 儀式集을 참고로 하여 제작된 銀海寺 居祖庵 『五百聖衆請文』(1805)에 수록된 오백나한 존명과의 비교를 통해서도 알 수 있다. 당시 香林寺에 <羅漢圖>를 200폭만 봉안한 이유는 명확히 알 수 없지만 形式과 圖像, 그리고 尊名에서 高麗時代 五百羅漢圖의 전통을 계승하려는 경향이 강한 듯하다. 향림사 <나한도>는 구도가 안정되어 있으며 나한의 尊像 표현이 사실적이고 水墨의 山水표현도 탁월하여, 제작화사를 명확히 알 수는 없지만 당시 상당히 역량이 있는 畵師에 의해 그려졌을 것으로 보인다. 그리고 이 작품의 화풍은 이 무렵 왕실발원으로 제작된 타 불화와도 유사한 면이 보여 당시 소위 ‘宮廷畵風’이 성립되어 있었고, 王室發願 佛畵를 전담하는 동일한 화사, 혹은 동일한 집단이 있었음을 짐작할 수 있다. 또한 이 작품은 이후에 제작된 民間發願 佛畵 속의 나한표현에도 상당한 영향을 끼치게 된다. LACMA 소장 香林寺 <羅漢圖>는 1562년 文定王后의 발원으로 제작된 나한도 200폭 중 현존하는 유일한 폭인 동시에 朝鮮前期를 통틀어 유일하게 남아 있는 나한도로서 당시 궁정화풍 나한도의 특징을 잘 알 수 있게 해주는 것은 물론 민간발원작품의 경향을 파악하는데도 중요한 의미가 있는 상당한 귀중한 작품이다.

사찰민화와 불화 속 궁중회화 양식의 경계

윤진영 한국민화학회 2023 한국민화 Vol.- No.19

There are two sides to temple paintings: the simple ‘folk painting’ style and the high-level court painting style. In other words, it has many different layers, from simple paintings of folk tastes to works that show outstanding skill. Even within Buddhist paintings, elements of temple folk paintings and court paintings coexist. Research on folk paintings in Buddhist paintings began in earnest after 2000. Among the Buddhist paintings at major temples, parts containing pure folk painting elements were introduced. These examples can be called ‘temple folk paintings’ and are mainly paintings drawn on the exterior walls or gun walls of temples. The period in which temple folk paintings emerged was in the 19th and early 20th centuries, and is not much different from the emergence of general folk paintings. Folk paintings became popular through the rise of new demand groups and the demand for daily life decoration, and Buddhist paintings were used as part of popular missionary work for the temple economy. Looking at the painters, those who paint folk paintings are those who have not mastered traditional painting, and the court style in Buddhist paintings includes both experienced Buddhist monks and unknown painters who stayed with folk painting elements. The contents are very extensive, including auspicious signs, fortune-telling, decorative paintings, old sad paintings, and sentimental paintings. While temple folk paintings have a strong nature of subverting reality, paintings in the style of court paintings are rarely found. In order to revive the temple's economy, monks actively engaged in painting activities in response to private demand in addition to painting duties for Buddhist temples. Research on the boundaries and points of contact between folk paintings, court paintings, and Buddhist paintings requires interdisciplinary research, and beyond the scope of both, it provides various implications for research on the history of painting in the late Joseon Dynasty.

朝鮮 前期 明宗代의 社會變動과 佛畵

신광희(Shin Kwanghee) 한국미술사교육학회 2009 美術史學 Vol.23 No.-

명종대 문정왕후의 발원으로 제작된 불화는 600여점에 이르며 불화불사의 배경에는 국왕인 명종의 건강 회복과 세손의 탄생을 기원하는 문정왕후의 염원이 반영되어 있다. 대규모의 불화를 제작하기 위한 비용은 내원당의 확대를 통한 내원당전의 확보와 사무역의 동참 등으로 충당해 나간 듯하다. 그리고 명종대에는 내원당을 전국 각지에 400여개로 확대하게 되면서 내원당이 기존에 궁궐 내 원당이었던 것과 달리 전국 각지의 위치한 왕실의 기도 도량으로 개념이 변하게 된다. 문정왕후의 숭불경향을 바탕으로 한 불교정책과 내원당의 확대 등은 결과적으로 이전에 비해 불교 교단의 위상을 강화시켜주었고, 사찰에서 활발한 불사를 이룰 수 있는 여건을 만들어 주었다. 그 과정에서 내원당을 비롯한 수많은 사찰의 법당에 봉안할 불화의 수요가 증가하게 되었을 것으로 여겨진다. 내원당에는 대체로 현존하는 왕실발원불화와 유사한 화풍의 불화가 봉안되었겠지만, 400여개에 이르는 내원당의 불화를 모두 왕실에서 지원, 제작하기에는 무리가 있었을 것이며 민간발원불화 중 일부가 함께 봉안되었을 것으로 판단된다. 명종대에는 왕실발원불화의 봉안처가 확산되는데, 이로 인하여 민간에서 궁정화풍의 불화를 인식할 수 있는 기회가 많아지고 민간발원불화의 화풍에도 영향을 끼치게 되어, 민간발원불화임에도 궁정화풍이 수용된 작품들이 나타나기 시작함을 알 수 있었다. 이를 통해, 조선조 명종대의 불교정책 변화와 왕실경제 기반의 변화 등이 당시의 불화의 수요와 화풍에 상당한 영향을 끼쳤음을 확인할 수 있었다. Nearly 600 works of Buddhist paintings requested by Queen Munjeong (the mother of King Myongjong) were produced during the reign of King Myongjong of Joseon. In having Buddhist paintings produced, Queen Munjeong wished for the health and recovery of her son, King Myongjong, and for his fathering of a male grandchild. Funds for the massive production of the Buddhist paintings were raised by increasing the number of court-supported temples, thereby adding to court lands, and by executing private trade transactions. During the reign of King Myongjong, the number of court-supported temples was increased to some 400, and in the process, the concept of a court-supported temple was changed from a temple within the court to a nationwide royal temple. The Buddhist policy supported by Queen Munjeong's worship of Buddhism and the increase in the number of court-supported temples helped to strengthen the position of the Buddhist community, and to create conditions in which Buddhist activities could be revitalized at temples. This probably led to an increase in the number of Buddhist paintings to be enshrined in many temples including the court-supported temples. There are some 400 extant Buddhist paintings enshrined in temples; the majority of the paintings are probably those produced at the request of the court, but some were produced at the request of commoners. During the reign of King Myongjong, temples enshrining courtsponsored Buddhist paintings spread nationwide, leading to commoners learning about the court style, and also influencing the styles of Buddhist paintings sponsored by the public, which led to reflection of the styles of court-requested paintings. King Myongjong's policy favoring Buddhism and the court's economic changes are found to have exercised great influence on Buddhist paintings of this era.

17-18세기 조선의 工筆 彩色人物畵 연구

이홍주 한국미술사학회 2010 美術史學硏究 Vol.267 No.267

공필 채색인물화는 왕의 명에 의해 그려지거나 궁중을 중심으로 제작된 鑑戒畵, 관료들의 모임을 기록하는 契屛 등으로 제작되었다. 많지 않은 현전작품과 기록으로 볼 때 17세기 이전 공필 채색인물화는 기마·수렵, 琴棋書畵 등 주제와 화풍 면에서 중국 원체 인물화의 영향을 받았음을 알 수 있다. 이러한 그림들은주로 明君暗君圖, 耕織圖, 孝子圖 등의 감계화로 병풍 형식이 특히 애호되었다. 17세기는 이전까지 조선에서 접하기 힘들었던 중국의 화적과 판화 삽도가 포함된 각종 서적의 유입으로 다양한 인물화 화제가 조선으로 전해졌다. 또한 궁중화원 출신으로 인물화에 능했던 중국인 화가 孟永光이 내조하여 보다 구체적인 중국 院體 인물화풍이 조선에 전해졌다. 조선 내부적으로는 17세기부터 병풍형식의 계회도가 유행하면서 채색인물화가 그려지는 주된 화면이 되었으며 인조와 숙종은 서화를 좋아하며 적극적으로 회화 제작을 지시하여 정치적 의도를 드러냈다. 그들이 총애한 맹영광과 이명욱의 그림 및어제가 있는 그림들의 화풍으로 보아 청록산수 및 채색 인물화를 선호하였던 것으로 보이며 이러한 군주의 선호가 도화서의 채색화풍 발달에 영향을 주었을 것으로 생각된다. 17세기 채색인물화에 능했던 화원및 직업화가는 이명욱, 조세걸, 진재해 등이 있다. 화풍적으로는 산수 배경은 경물군이 화면을 지그재그로분할하는 삼단구성이 유지되는 경향이 있고 채색은 18세기에 비해 옅고 맑은 느낌을 준다. 또한 〈東門送別圖〉와 〈權大運耆老宴會圖屛〉 등은 조선 문인 관료들의 모임을 중국 고사 속의 문인아집과 같이 표현하는흥미로운 시도가 이루어졌다. 18세기에는 계병에 행사장면을 그리는 것이 정착되었으나 채색의 고사인물을 그리는 관행도 지속되었다. 채색인물화로는 유명 시문과 고사 등을 담은 화첩들의 제작이 늘어났고 이들은 세자의 교육과 관련이 깊다. 화제 면에서는 난정수계도, 서원아집도, 사녀도, 청명상하도 등 17세기에 유입된 화제들이 구영 등 명대 화가들에 의해 표준화된 구도 및 화풍으로 수용되면서 조선에서 선호된 병풍 형식에 맞추어 화면을 재구성하는 등의 변용이 일어났다. 18세기 후반에 이르면 요지연도, 백자도, 곽분양행락도 병풍이 즐겨 제작되었다. 이들은 중국적 주제이나 도상적 구성은 조선에서 새롭게 만들어진 것이다. 이 길상적 성격의 그림들은 먼저 민간의 장식병풍으로 사용된 것으로 보이며 19세기에는 궁중에서도 본격적으로 궁중행사에 사용되었다. 18세기 공필 채색인물화가는 김진여, 장득만, 장계만, 한후량, 한후방, 양기성, 정홍래, 진재해, 신한평, 강희언, 김득신 등이다. 18세기의 채색은 보다 짙고 장식적이며 모티브는 도식화되었다. 그림 속 여인들은 사녀 표현의 전형으로 굳어진 명대 구영의 화풍으로 그려졌으며 고정된 화본이 반복적으로 모방되었다. Gongpil color figure paintings of the Joseon period, meticulously realistic figure paintings in color with fine details, were primarily court paintings whether or not they were directly commissioned by the court. They were mostly‘didactic paintings’with explicit moral contents or folding screens documenting major courtly events. What one can gather from a few gongpil figure paintings that have survived to the present, prior to the 17th century, they were mostly on such subjects as horse-riding,hunting, and four accomplishments of noblemen [the zither, the chess game, calligraphy,and painting] (Geumgiseohwa ), and were stylistically influenced by Chinese acadmic figure painting style known as“yuanti (painting academy style).”Didactic paintings on themes like‘good and bad rulers,’agriculture and sericulture, and filial piety were particularly popular. The format of folding screens was much favored. Once into the 17th century, various Chinese paintings and books containing paintings and woodblock illustrations, still then a rarity, became widely available in Joseon. The visit by Meng Yongguang (active mid-seventeenth century), a Chinese court painter excellent in figure painting, helped to introduce and make popular a more orthodox yuanti style. In particular, folding-screen paintings of social gatherings gained popularity and became the main genre of color figure painting. King Injo (r. 1623-1649) and King Sukjong (r. 1674-1720)were fond of paintings and frequently commissioned paintings. Paintings commissioned by them were at times intended to show their political thoughts and visions. Paintings by Meng Yongguang and Yi Myeong-uk (active late seventeenth century), the two favorite painters of these monarchs, and other paintings for which the kings personally wrote verses indicate that blue and green landscapes and color figure paintings were their preferred genres. The taste of the monarch must certainly have had an influence on the style of color paintings produced by court painters. Notable 17th-century court painters and professional painters,acclaimed for their color figure paintings, include Yi Myeong-uk, Jo Se-geol, and Jin Jaehae. One of the characteristic features of paintings by these painters was the three-tier composition in which the landscape serving as the backdrop was divided into three sections having zigzag sides. Colors used in 17th-century figure paintings tended to be lighter than those in 18th-centurypaintings. Such paintings as Dongmunsongbyeoldo (Farewell at the East Gate) and Gwon Dae-un Giroyeonhoedobyeong (Gwon Dae-un's Banquet Scene in Honor of Senior Officials) are of great interest in depicting gatherings of Joseon scholarofficials in a style recalling the legendary meetings of literati in Chinese history like the “Elegant Gathering at the Western Garden.”During the 18th century, while the depiction of scenes from social events on folding screens became an established genre, the practice of painting mythological or historical figures in color also continued to flourish. There was an increase in the production of painting albums containing famous verses and historical anecdotes, many of which were probably used as instructional materials for crown princes. Paintings of Chinese subjects such as Nanjeongsugyedo (The Gathering at the Orchid Pavilion), Seowonajipdo (Elegant Gathering at the Western Garden), Sanyeodo (Beautiful Ladies / Court Ladies) and Cheongmyeongsanghado (Along the River during the Qingming Festival) were introduced in Joseon Korea during the 17th century. They were re-adapted into folding-screen paintings or otherwise re-accommodated to suit the local taste. Paintings of the same subjects by by Qiu Ying and other Ming-dynasty Chinese painters were much sought-after. Toward the late 18th century, such themes as Yojiyeondo (The Feast at the Yao Pond), Baekjado (One Hundred Children), and Gwakbunyanghaengnakdo (Luxurious Life in the Style of Guo Ziyi) also became pop...

문인화(文人畵)와 원체화(院體畵)의 문화코드 -송대(宋代)를 중심으로-

장완석 성균관대학교 유교문화연구소 2009 儒敎文化硏究 Vol.1 No.15

The literati of Song Dynasty are not the same as the literati of around Song Dynasty. The literati get rid of control of aristocratic families those who politically influential and economically dominant for generations system. Because they get comparatively stand alone social position. Literati arts have arisen except on aristocratic arts in Song Dynasty. In painting, literati painting have arisen except on court painting. Literati painting prosper in Song Dynasty, but literati painting of Song Dynasty are different around literati painting, especially literati painting in Yuan Dynasty. Li xue deeply influenced upon paintings and its theories in Song Dynasty. Similarly, Taoism and Zen Buddhism also did, especially the Zen's influence was prominent. From Song Dynasty Chinese painting start two party, both to court painting and literati painting contribute to Chinese painting. Court painting was not diametrically opposed literati painting, instead of mutual complementation. They express poetic taste, pursued unity of poem and painting. ‘문인(文人)’이 회화예술에 참여하기 시작한 것은 이미 오랜 역사를 가지고 있는데, 기록에 따르면 한대(漢代)에서부터 이미 일부 문인들은 그림을 그리기 시작하였다고 한다. 문인계층은 각 시대별로 유사점과 또 차이점을 가지고 있다. 특히 송대(宋代)의 문인과 이전 시대의 문인, 그리고 송대 이후 특히 원대(元代)의 문인은 상당한 차이점이 있다. 송대의 문인은 문벌세족제도의 속박에서 벗어나 이제 문벌세족에게 의존하지 않아도 되었으며, 상대적으로 독립된 사회 정치적 지위와 인격을 얻게 되었다. 이는 송대 문인의 사회적ㆍ정치적 지위가 향상된 것과 밀접한 관계를 맺고 있으며, 또한 송대 궁정 귀족예술 외에, 문인예술의 출현을 촉진하게 되었다. 회화예술에 있어서는, 원체화(院體畵) 외에 새로운 장르라고 할 수 있는 문인화(文人畵)가 출현하게 되었으며, 일반적으로 “화공”이라는 부류와 구별되는 예술 집단이 형성되었는데, ‘문인화’는 송대에 흥성하게 되었으며, 송대의 역사적 조건 하에서 이해되어지고 있는 문인화는 후세에서 말해지고 있는 것과는 다르다. 특히 원대 문인화와 큰 차이점을 보인다. 화가의 지위나 신분에서 본다면, 송대 ‘문인화’는 속세를 떠나 산림에 은거하는 은사ㆍ승려ㆍ 도사를 비롯해 관직이 없는 사인(士人) 들이 그린 그림을 지칭할 뿐만 아니라, 일반 관리나 높은 관직의 관리들이 그린 그 림도 포함하고 있다. 송대에 선종미학(禪宗美學)은 문인화 발전에 있어 중요한 역 할을 해 해왔으나, 리학(理學)도 여전히 매우 중요한 영향을 끼쳤다. 중국 회화는 송대로 부터 두 갈래로 발전하기 시작하는데, 원체화와 문인화 모두 회화 발전에 많은 공헌을 해왔다. 그러면서도 원체화와 문인화는 서로 대립해 온 것이 아니라, 반대로 상호 보완적인 관계에 있었다. 이들 모두 시적 정취를 표현하려 하였고, “시중유화, 화중유시(詩中有畵, 畵中有詩).”라는 말처럼 시와 회화의 통일을 추구하였다.

L.A. County Museum of Art 소장 香林寺〈羅漢圖〉

신광희 동악미술사학회 2010 東岳美術史學 Vol.0 No.11

미국 L.A. County Museum of Art 소장 香林寺〈羅漢圖〉는 조선왕조 1562년에 明宗의 모후였던 文定王后가 명종의 건강과 자손번창을 기원하며 발원한 香林寺〈羅漢圖〉200점 중 第153 德勢威尊者圖이다. 조선전기에는 주로 왕실을 중심으로 나한신앙이 성행하였는데 이 시기에는 특히 치병과 장수를 기원하는 목적으로 이루어진 나한불사가 많은 편이었고 향림사〈나한도〉역시 그러한 성격을 지니고 있다. 향림사는 나한도량이었다는 구체적인 기록은 남아 있지 않지만 고려 때부터 왕실의 원찰로 알려져 있으며 문정왕후는 이곳에 나한도 200점을 봉안함으로서 그 功德으로 명종이 無病長壽할 수 있기를 바라고 있었던 듯하다. 이 작품은 화면 안에 羅漢만을 크게 부각하여 그렸는데, 이렇듯 나한이라는 주제만을 극대화시켜 표현 하는 형식은 이미 고려시대 오백 폭〈五百羅漢圖〉에서도 확인되며 고려본 중 특히〈第282 寶手尊者圖〉와는 도상까지 상당히 비슷하다. 또한 尊名도 고려의 것을 계승하고 있는데, 이는 1807년 高麗의 儀式集을 참고로 하여 제작된 銀海寺居祖庵『五百聖衆請文』(1805)에 수록된 오백나한 존명과의 비교를 통해서도 알 수 있다. 당시 香林寺에〈羅漢圖〉를 200폭만 봉안한 이유는 명확히 알 수 없지만 形式과 圖像, 그리고 尊名에서 高麗時代五百羅漢圖의 전통을 계승하려는 경향이 강한 듯하다. 향림사〈나한도〉는 구도가 안정되어 있으며 나한의 尊像표현이 사실적이고 水墨의 山水표현도 탁월 하여, 제작화사를 명확히 알 수는 없지만 당시 상당히 역량이 있는 畵師에 의해 그려졌을 것으로 보인다. 그리고 이 작품의 화풍은 이 무렵 왕실발원으로 제작된 타 불화와도 유사한 면이 보여 당시 소위‘宮廷畵風’이 성립되어 있었고, 王室發願佛畵를 전담하는 동일한 화사, 혹은 동일한 집단이 있었음을 짐작할 수 있다. 또한 이 작품을 비롯한 궁정화풍의 나한 표현은 이후에 제작된 民間發願佛畵속의 나한표현에도 상당한 영향을 끼치게 된다. LACMA 소장 香林寺〈羅漢圖〉는 1562년 文定王后의 발원으로 제작된 나한도 200폭 중 현존하는 유일 한 폭인 동시에 朝鮮前期를 통틀어 유일하게 남아 있는 나한도로서 당시 궁정화풍 나한도의 특징을 잘 알 수 있게 해주는 것은 물론 민간발원작품의 경향을 파악하는데도 중요한 의미가 있는 상당한 귀중한 작품이다. Hyangnimsa Arhat Painting in L.A. County Museum of Art is Deoksewi, 153rd of the 500 Arhats. This work is one of the two hundred scrolls of paintings commissioned by Queen Dowager Munjeong who wished for the health and recovery of her son, King Myongjong and put in Hyangnimsa Temple in Samgak Mountain near the Court Palace in 1562 in Joseon. In early Joseon Arhat cults were particularly popular in the court in times when they hoped longevity because arhats had supernatural power, increasing the length of life of people. Hyangnimsa Temple had been private place of the court since Goryeo Dynasty. This painting is a rather simple work in therms of the iconography and convey a sense of thematic overload. This form and type inherit mostly from the Goryeo and Hyangnimsa arhat painting in LACMA is especially similar the painting Bosu, 282nd of 500 Arhats paintings consisting of 500 panels in Goryeo. In addition, each name of 500 arhats also inherits tradition of Goryeo as we looked at the name written in Obaekseongjungcheongmun, publication about ritual calling in arhats. I don’t know yet only 200 panels not 500, but it is beyond doubt that arhat paintings in Hyangnimsa Temple inherit tradition of Goryeo, especially form of composition, iconography, and each name of arhats. This painting is that composition is stable, arhat’s face is like realistic, and landscape with ink is expressed. We don’t know who painter of this work was yet, but maybe he was in charge of buddhist paintings of the court. Meanwhile at that time temples enshrining court- sponsored Buddhist paintings spread nationwide, leading to commoners learning about the court style, and also influencing the styles of Buddhist paintings sponsored by the public, which led to reflection of the styles of court-requested paintings. The Arhat portrait in the collection of LACMA also had a non-negligible influence on privatelysponsored Buddhist paintings from subsequent eras. It is very important that this is the only painting from the group in Hyangnimsa Temple and during early Joseon period known to survive, too.

乾隆帝의 西畵 인식과 郎世寧 화풍의 형성: 貢馬圖를 중심으로

이주현 미술사연구회 2009 미술사연구 Vol.- No.23

The intermarriage of Chinese and European painting technique began when a handful of European missionary artists were accepted into the Qing court. The most famous of the Jesuit missionary painters was the Giuseppe Castiglione, Lang Shining(1688-1766), who arrived China in 1715 and went on to serve emperor Yongzheng and Qianlong. He created new style of court painting, in which european chiaroscuro and scientific perspective intermingled with Chinese traditional pigments. On the one hand Qianlong, the great admirer of european civilization, supported Lang Shining to portray imperial family or to record important historical events, on the other hand the emperor controlled and managed Lang’s painting process. The detailed daily record in Archives of the Department of the Imperial Household(淸檔)informs us that Qianlong ordered Lang Shining to fullfil following duties for this purpose: 1. Lang Shining had to made sketches or drafts before he formally start to paint. The works could not be executed until the emperor agreed to Lang’s draft. 2. On the instruction of Qianlong, Lang Shining had to collaborate on a painting with chinese court painter. The main subjects which need realistic rendering of light and shadow such as emperors face, muscles of horses or magnificent feathers of peacocks were mostly executed by Lang Shining, the background with trees and mountains of calligraphic brushstrokes executed by chinese painters. 3. Lang Shining had to copy the works of great chinese masters in traditional chinese style. Throughout his life Qianlong had a strong affection for his horses, many of which he had portrayed by Lang Shining. Although horses had been a popular subject in Chinese painting since the Tang Dynasty, the emperor seems to have preferred the European naturalistic treatment of his horses to a more traditional Chinese linear rendering. However Qianlong also wished that the western characteristics did not overshadow traditional chinese aesthetics. Eight Imperial Horses by Lang Shining for example shows an interesting intermarriage of european and chinese painting techniques. The naturalistically rendered horses are superimposed on landscapes painted in Chinese style. The green and blue colors of the background and the composition devided by trees and river remind Noble Steed in autumn landscape of Zhao Mengfu. Ten Imperial Horses-Ruyicong shows typical western painting technique in the naturalistically rendered horse muscles and realistic patterns on skin. However the simple composition and the inscription in which the name and size of each horse appeared in Chinese, Manchu and Uighur, remind us Five Horses by Li Goglin. In the inscription on this painting Qianglong named Lang’s style as“convexo-concave painting method, aotudanqingfa, 凹凸丹靑法”. In Steeds dedicated by Dzungar tribe three envoys of Dzungar tribe and horses dedicated to Emperor Qianlong are depicted. The whole subjects of the work are described just in ink without any color. The thin ink line and the lateral pose of the horse are similar to the technique“baimiao”of Li Gonglin in Song Dynasty. Lang Shining’s horse painting exemplify the new direction of court art during the reign of Qianlong. Lang brought wih him, in person, to the imperial court itself, scientific knowledge of anatomy, light and perspective, and more naturalistic means of representation. For the first time European and Chinese painters were able to share their skill and collaborate on paintings, creating works that were a new fusion of western and chinese painting technique.