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중국 고대회화의 ‘분과(分科)’ 형성에 관한 시론 : 북조 석장구 회화를 중심으로
정옌(鄭岩),서윤경(번역자) 한국미술연구소 2019 美術史論壇 Vol.- No.48
In the history of Chinese painting, there has been a longstanding tradition of classifying paintings by their topic or theme, referred to variously as the “subject matter of painting(畵門),” “field of painting(畵科), ” and so forth. In general, it is said that such classification was established through GuKaizhi(顧愷之)’s distinction of the painting categories of human figure, landscape, animal, and arhitecture during the Eastern Jin Dynasty. However, a more systematic classification of paintings came about through aesthetic theories and works produced in the Tang and Song dynasties. The development of painting classification in earlier periods could not be investigated properly because of the lack of transmitted works. This study examined the development of painting classification through the folding screen iconography depicted on stone coffin beds(石床) and house-shaped stone sarcophagi(石堂) found among the funerary objects unearthed in ancient tombs from the Northern Dynasty period. Because these are tomb artifacts, their genre is limited to funerary art. However, given that they ref lect actual life, the art forms contained in them are worthy of attention. Figure paintings were stylized as a new art form, and landscape paintings were emerging as a separate art form. Architectural objects were depicted as noticeable subject matter, and flowers and birds were actively depictend in their own right. Thus, it was found that a deepening of aesthetic self-awareness, along with specialization and diversification of various fields of painting, occurred in the Northern Dynasty period.
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정옌(鄭岩) 한국미술연구소 2006 美術史論壇 Vol.- No.23
본고는 20세기 이후의 중국 위진남북조 묘실벽화의 주요발견과 연구현황 및 그 시대적 특징을 살펴보았으며, 나아가 미술사 연구에 있어서의 의의를 서술하였다. 먼저 고고학 연구의 기초작업으로서 지역적ㆍ시대적 분류작업을 통해, 위진남북조 벽화묘의 전체적인 현황과 그 발전과정의 맥락을 짚어보았다. 지역은 크게 東北, 西北, 南方, 中原 지역으로 나누었다. 동북지역은 遼河의 동쪽 지역으로, 주로 魏晉, 三燕과 高句麗 벽화묘가 발견되었다. 서북지역은 河西走廊에서 新彊 吐魯番 일대를 포함하며, 주로 魏晉과 五凉에 속하는 시기의 벽화묘가 발굴되었다. 남방지역은 淮河의 남쪽 광대한 지역으로, 벽화묘의 자료는 난징 東晉 南朝墓의 계통이 주를 이룬다. 중원은 黃河 중하류를 중심으로 한 지역으로, 北朝의 벽화묘가 많이 발견되었다. 위진남북조는 정권분립의 시기였을 뿐만 아니라, 동시에 각 지역의 문화가 융합된 시기였기 때문에 수많은 문화적 요소가 잔재해 있으며 그 시대적 특징을 표출하고 있다. 특히 벽화묘의 지역적 분포가 일정치 않기에 각 지역간의 묘장구조, 제재내용 및 회화풍격 역시 뚜렷한 특징을 지니고 있다. 한편 각 지역간에는 교류와 상호작용이 활발히 진척되고 있다. 동 북ㆍ서북지역의 벽화묘는 중원지역 漢 문화의 영향이 두드러지며, 다시 중원과 서역에 영향을 미치고 있다. 北朝 북위의 벽화묘는 뤄양으로 도읍을 옮긴 후 제재상의 변화를 가져오게 되며, 이러한 변화는 南朝와의 영향 관계가 밀접하다. 위진남북조의 묘실벽화는 漢代 묘실벽화의 기초상에서 새로운 전환과 창조를 이루어냈다. 제재의 선택과 주제의식이 명확해지며, 새로운 도상 규율이 형성되고 있다. 특히 이러한 변화는 묘주인의 신분과 밀접한 관련을 지니고 있으며, 이 시기에 들어서 帝陵과 貴族의 묘장에서 벽화가 대량으로 출현한다는 점이 주목된다. 또한 종교예술 및 각종 학술사장이 새로운 변환에 기여하고 있으나, 엄밀히 말해 묘실벽화는 喪葬관념의 반영이기에 그 해석을 내릴 때 각별히 주의하여야 한다. 위진남북조 묘실벽화의 발견과 연구는 중국미술사의 연구에 새로운 자료와 시야를 제공 해주고 있다. 현재에 이르기까지 계속적으로 축적되는 묘실벽화의 자료는 부족한 문헌자료를 보완해줄 뿐만 아니라, 당시의 풍부한 회화자료를 제공한다. 또한 묘실벽화는 당시의 건축, 소조, 회화가 결합한 종합적인 예술작품이므로, 우리는 이를 독립적이고 특수한 예술형식으로 다루어야 한다. 위진남북조 묘실벽화 그 자체의 속성을 다시금 인식하고 미술사적인 가치를 이끌어내는 작업은 이제 우리에게 달려있다. This study looked into the main discoveries and researches of tomb murals and their periodical characteristics, stating a few implications within the context of art history. To begin with, by classifying them into geographic and periodical category, I investigated the overall situation of tomb murals in me Wei, Jin Northern and Southern Dynasties and me context of its development. Regional categories incorporate the Eastern North, the Western North, the Southern, and the Central. The Eastern North belonged to the eastern pan of Yaohe, in which mainly mural tombs of Weijin, Sanyan, and Coguryeo were Included The Western North covered territories from Hexi to Xinjiang and Tulufan, in which mainly tombs of Weijin and Wuliang were excavated. The Southern belonged to the southern extensive territory of Huihe, in which mainly the burials of Nanjing, Eastern Jin Dynasty, and Southern Dynasty were found The Central belonged to the middle and lower courses of a stream of Huanghe, in which mainly murals of tile Northern Dynasty were discovered. Wei, Jin Northern and Southern Dynasties were not only the period of separation of political power, but also the fusion of discrete regional cultures so that numerous cultural elements still remained and revealed each ethnicity. Especially murals were unevenly distributed in a regional context, so that each one preserved distinctive traits in terms of interior structure, topics and painting characteristics, Nevertheless, there were notably a lot of interactions and exchanges amongst regions Tomb icons of me Eastern north and the Western north were mainly influenced from tile Han culture of me Central, later turning the influences back to tile Central and the West. Tomb murals of the Northern Wei in the Northern Dynasty went through the transformations in topics since tile relocation of tile Capital to Luoyang, which showed tile intertwined relationships with the Southern Dynasty. Murals depicted inside the burial chambers of Wei, Jin Northern and Southern Dynasties accomplished remarkable transformations and creations with the more clarified themes and selected topics, along with the newly-formed iconographic norms. Especially these changes have an inextricable relationship with the social status of the deceased. It is a noteworthy fact that during this period, the chamber tombs for emperors and aristocrats took into presences in massive quantities. Even though religious art and a host of academic ideas seemed to have contributed to the transformations, it needs to be very cautious to have such an interpretation, when considering tomb depictions are strictly the reflections of ideas on funeral rituals. Identifications, descriptions and interpretations of tomb murals of Wei, Jin Northern and Southern Dynasties provide us with a myriad of references and perspectives for the study of Chinese art history. Documents of tomb murals accrued to the present nor only make up for the lack of archives, but offer abundant painting materials. In addition to that, tomb imagery seen as works of an combining architecture, modelling with painting, needs to be handled as an independent and specific form of art. Whether th tomb murals of Wei, Jin Northern and Southern Dynasties can be recognized as valuable dues in art history depends on our trial of reappraisal on the inherent qualities.
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