陳洪綬의 遺民意識과 〈何天章行樂圖〉

張俊九(Chang June-gu) 미술사연구회 2008 미술사연구 Vol.- No.22

Chen Hong-shou (陳洪綬, 1598-1652) was a late-Ming literati painter who made a significant contribution in establishing and reviving antiquarianism in figure paintings in the history of Chinese painting. Chen was an artist with diverse talents. He was a painter, a calligrapher of high-caliber, a famous illustrator for popular novels and romance, and a poet. Archaic and antiquarian thematic and pictorial styles formed the distinctive quality of Chen’s works. Existing researches on Chen Hong-shou have not yet investigated several important issues, such as how his paintings were inter-related with his state of psychology or to his varied and complex life experiences as a Ming leftover loyalist. I believe that Chen was fundamentally an anguished drifter unsettling in between neither Ming nor Qing dynasty. Ho T’ien-chang in The Pleasure Outing of Ho T’ien-chang can be regarded as a symbol of the collective identity of leftover Ming intellectuals, who decided to become hermit scholars like Tao Yuan-ming. In this imaginary group portrait, Chen Hong-shou depicted the thwarted and conflict-ridden lives of left-over loyalties of Ming dynasty, including the painter himself. Chen represented the main subject of life and culture of his contemporary leftover intellectuals such as Ho T’ien-chang by portraying him as Tao Yuan-ming, a legendary hermit scholar whom Ming loyalists wished to associate themselves with. In The Pleasure Outing of Ho T’ien-chang appears Ho T’ien-chang, who lived in retirement out of suffering and conflict from the fall of his country. He sits tranquil in a quite surrounding, which represents the life of Ho T’ien-chang as a hermit scholar who received high-esteem from Ming loyalists. Large pine trees, bamboos, and Taihu rocks in the background symbolize the pure image of Ho T’ien-chang. The large pine trees extending their branches wide, the bamboos standing behind the pines and the Taihu rocks lying in the foreground all refer to the way of life of a nobleman who does not give up their spiritual nobleness even in perilous conditions. These objects are no mere sceneries. They were traditionally metaphors of unbent will and integrity of the noble men situated in the time of hardships, and they visually amplify Ho T’ien-chang who led his life with a clean and pure spirit despite the desolate reality. However, The Pleasure Outing of Ho T’ien-chang takes note of the tragic reality where such a literati intellectual with exceptional talent and nobleness like Ho T’ien-chang should end his life as a drifter and a hermit scholar. An almost inconspicuous chrysanthemum on the corner of the rock to the right side of Ho T’ien-chang in the painting implies the unfortunate lives of drifters as a visual metaphor. Among the drifting intellectuals, chrysanthemums have thus been regarded as a symbol of hardship and frustration of Ming leftover loyalists. By depicting the portrait of Ho T’ien-chang, Chen Hong-shou attached strong social significance and a high level of pictorial symbolism in The Pleasure Outing of Ho T’ienchang. From the outer appearance, the painting seems to have rendered the “pleasure outing”of Ho T’ien-chang, but it is a symbolical painting of Chen Hong-shou who represents the common “consciousness of Ming leftover”among Ming loyalists and the artist himself.

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.

16, 17세기 중국의 여성화가

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

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.

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.

통도사 대광명전 내벽의 신선도(神仙圖)

장준구(Chang, June-Gu) 동서미술문화학회 2020 미술문화연구 Vol.18 No.18

통도사 대광명전 내벽의 벽화는 건물이 중창되었던 1759년에 제작된 것으로 추정되는 귀한 사례이다. 이 가운데 신선도는 기존에 고사인물도로 지칭되어왔으나, 여동빈, 조국구, 비장방, 손등을 비롯한 도교의 신선을 표현한 것임을 알 수 있었다. 11개의 포벽화의 그림 가운데에는 정체를 파악하기 어려운 경우도 있었지만 지물을 통해서 보았을 때 일반 고사를 그린 것이 아닌 신선임을 살펴볼 수 있었다. 이들 신선도의 경우 섬세한 기법과 양식을 사용한 비단 등에 그려진 탱화와 달리 거칠고 힘있는 필묵법, 채색법이 사용되었는데, 이는 세밀한 묘사 자체가 어려운 벽체 자체의 거친 특성이 반영된 것이라 할 수 있다. 이는 동시에 규범을 초월하고 분방함을 추구하는 신선 자체의 속성 때문에 힘 있고 거친 표현이 더욱 적합했었기 때문이기도 했다. 대광명전 단청 작업의 경우 기록을 통해 1759년 경 임한을 비롯한 20인의 화승들에 의해 제작되었는데, 통상 벽화도 단청과 함께 병행되는 사례가 많으므로 벽화 역시 이들에 의해 그려졌었을 것으로 추정된다. 본고에서는 불교 사찰의 벽화로서 이질적이라고 할 수 있는 신선도를 통도사 대광명전 내벽의 벽화를 사례연구로서 살펴본 것이다. 이는 신도들의 현실적, 세속적 지향이 반영된 것으로, 불교가 점차 대중화되어가던 조선 후기의 시점에 길상성이 강한 신선도를 비롯한 일반회화가 사찰의 벽화로 흡수되던 양상을 반영하고 있다. The murals on the inner wall of Daegwangmyeongjeon Hall of Tongdosa Temple are considered a rare example of the construction of Daegwangmyeongjeon Hall in 1759. Among them, Doaist Immortal Painting was originally referred to as Figure Painting, but it can be seen that it represents Taoism"s virtues, including Yeo Dong-bin, Cho Guk-gu, Bijangbang, and Son back. In some cases, it was difficult to identify the painting among the 11 paintings, but it was found that it was a fresh painting rather than a general history painting. Unlike the Teng painted on silk, which used delicate techniques and forms, rough and powerful writing and coloring techniques were used to reflect the roughness of the wall itself, which was difficult to describe in detail. At the same time, it was because the strong and harsh expressions were more appropriate because of the nature of the new, which transcends norms and pursues discretion. In the case of dancheong work in Daegwangmyeongjeon Hall, it was conducted by 20 painters, including Im Han, in 1759. It is estimated that murals were also painted by these painters because they were often accompanied by dancheong. In this research, Doaist Immortal Painting, which is considered to be heterogeneous as a mural of Buddhist temples, was looked at as the center of the mural on the inner wall of Daegwangmyeongjeon Hall of Tongdosa Temple. This reflects the realistic and secular orientation of the believers and reflects the aspect that the auspicious image of Sinseongdo was absorbed into the murals of the temple during the late Joseon Dynasty, when Buddhism became increasingly popular.

方人定의 繪畵 연구

장준구(Chang, June-Gu) 동서미술문화학회 2014 미술문화연구 Vol.5 No.5

영남화파의 2세대 화가인 方人定(1901-1975)은 다른 영남화파 화가들이 잘 다루지 않았던 분야인 인물화를 중점적으로 개척함으로써 영남화파의 지평을 넓히는 데 기여하였다. 그의 경우 영남화파의 기본적인 목표인 ‘中西折衷’을 1세대 화가들과 달리 인물화를 통해 실현코자 한 것이다. 실질적으로 고검부, 고기봉, 진수인이 영남화파의 화조화, 산수화의 1세대 화가라고 한다면, 방인정은 영남화파의 1세대 인물화가라고 볼 수 있다. 방인정은 영남화파의 영수 고검부로부터 사사하게 되면서 본격적인 화가의 길을 걷게 되었고, 이후 일본과 미국으로의 유학과 여행을 통해서 개성적 인물화가로 거듭나게 된다. 귀국이후 예술을 통해 항전에 참여하였으며, 항일전쟁 종료이후에는 교육자로서, 또 화단의 중진으로서 보다 큰 역할을 하였다. 1960년대 중반에는 문화대혁명의 발발로 뜻하지 않게 4년여의 곤욕을 치루기도 했다. 방인정의 회화론은 기본적으로 스승 고검부의 이론을 계승하는 것으로 고검부가 제시한 회화의 ‘중서절충’과 ‘현실의 반영’이라는 두 가지를 골격으로 하고 있다. 다만 방인정은 고검부와 달리 인물화의 중요성을 강조하여 차이점을 보여준다. 그는 스승을 그대로 계승함으로써 개성을 잃게 될 상황을 피하기 위해 인물화 개척이라는 독자적인 길을 걷게 된다. 방인정의 회화는 고검부로부터 배운 뒤 일본으로 유학을 다녀온 1기, 미국을 다녀온 2기, 중화인민공화국 성립 후인 3기로 세분해볼 수 있다. 1기는 일본에서의 직간접적인 예술 자극을 통해 방인정 자신만의 독자적 인물화 개발해갔던 시기이며, 2기는 미국에서의 경험을 통해 중서의 결합을 본격적으로 실천하였던 시기이고, 마지막 3기는 중화인민공화국의 성립에 따른 선전화의 제작 시기였다. 한 화가의 회화가 이렇게 폭넓게 변모하는 것은 흔치 않은 일로, 이를 통해 복잡다단했던 중국근대 역사의 한 단면을 엿볼 수 있다는 점 또한 흥미롭다. Fang Rending contributed to help broaden the horizons of the group by pioneering focus portraits. His basic goal of the fusion of Western Art is one wishes to achieve through the portraits unlike the first generation of painters. He is the first generation to go to see portraits of Lingnan School. He was walking the street while learning from Gao Jianfu of authentic painter, since Japan is a painter and distinctive character through the study and travel to the United States. Participated in the avionics through art after returning home, as an educator, after the anti-Japanese war ended, another was a great role as a mogul in the flower bed. The mid 1960s, accidentally undergo four years of suffering to the outbreak of the Cultural Revolution. His view of art is to inherit Gao Jianfu by default. Gao Jianfu is a reflection of the reality of compromise and Eastern and Western painting. He had the same idea. But he shows the differences highlight the importance of Gao Jianfu and other portraits. He is to walk your own path through the portraits in order to avoid a situation to lose their individuality by inheriting the teacher as it is. His art world is held to study in Japan after the first phase learned from mentors, American held two groups, divided into three groups after the establishment of the People"s Republic of China. The first group came time to develop their own portraits of their own through the direct or indirect stimulation of art in Japan. Two groups who over a period of practical experience in the US in earnest a combination of Western art. Three groups were making good time of the phone according to the establishment of the People"s Republic of China. A painter"s paintings are so big that it was through this complex, multi-stage glimpse a glimpse of Chinese Modern History is also interesting.

역사학 : 문수신앙(文殊信仰)과 돈황(敦煌)의 문수보살도상(文殊菩薩圖像)

장준구 ( June Gu Chang ) 대구가톨릭대학교 인문과학연구소 2009 인문과학연구 Vol.12 No.-

동아대학교석당박물관 소장 ≪자수 초충도 병풍≫을 통해 본 조선시대 초충도의 연원

장준구(Chang, June-gu) 동서미술문화학회 2021 미술문화연구 Vol.20 No.20

그간 조선시대의 초충도는 신사임당과의 밀접한 관련성 속에 논의되어왔다. 이러한 과정에서 신사임당과 초충도의 밀접한 관련성과 허구성이 모두 드러나게 되었다. 이글은 기존의 연구들과는 방향을 달리하여 단정할 수 없는 작가와의 관련성을 배제하고, 조선시대 초충도 가운데 시기적으로 가장 선행하는 표현방식을 보여주는 ≪자수 초충도 병풍≫을 자세히 검토하는 것을 목표로 했다. ≪자수 초충도 병풍≫의 표현방식은 기본적으로 원말명초 중국 비릉화파의 초충도에 연원을 두고 있어, 기본적으로 동일한 조형적 특징들이 발견된다. 또 당시 『경사증류비급본초』, 『음선정요』, 『구황본초』등 조선에 유입되었던 본초서와 의학서의 삽도들도 그 영향이 적지 않았을 것으로 생각된다. 이와 관련하여 오히려 조선시대 초충도의 전개에 있어서 실질적으로 큰 역할을 담당한 인물이 신사임당이 아니라, 강희안이었을 가능성이 높다는 점도 새로운 주목의 대상이다. In the Joseon Dynasty, Chochungdo was discussed in close connection with Sin Saimdang. In this process, the close relationship and fiction of Sin Saimdang and Chochungdo were revealed. Unlike previous studies, this article aims to exclude the connection between the unpredictable writers and to examine The Embroidered Screen of Grass and Insects which shows the most advanced expression of the early Joseon period. The expression method of the The Embroidered Screen of Grass and Insects originates in the superimpression of a picture of insects in the Bilung area, and essentially the same formative features are found. It is also believed that the herbal books and illustrations of medical books that were introduced to Joseon at the time had a significant impact. In this regard, it is also interesting to note that it is highly likely that the person who played a substantial role in the development of Chochungdo during the Joseon Dynasty was not Shin Saimdang, but Kang Hee-an.