近畿南人書畵家그룹의 金剛山紀行藝術과 駱西 尹德熙의 『金剛遊賞錄』 = Geumgangsan Mountain Travelogue Literature and Painting of the Namin Calligraphers and Painters Group in the Vicinity of Capital Seoul, and Yun Deokhui's Geumgangyusangrok

다국어 초록 (Multilingual Abstract)

This study examines the Geumgangsan Mountain Travelogue Literature and Painting of the Group of Namin (南人) Calligraphers and Painters in the Vicinity of Capital Seoul, which in the period spanning from the second half of the 17th century to the first half of the 18th century, consisted of such as Yi Hajin (1628-1682), Yi Seo (1662-1723), Yun Duseo (1668-1715), Yi Manbu (1664-1732), and Yun Deokhui (1685-1766). It also examines the significance of the art history of Yun Deokhui's Geumgangyusangrok (金剛遊賞錄), which I have recently discovered in the ancient Nogudang Residence in Haenam (海南 綠雨堂).
Travel literature and "true view" landscape paintings are known to have been led and enjoyed exclusively by the so-called Baegaksadan (白岳詞壇) group which was made up of the Kim Changhyeop (1651-1708) and Kim Changheup (1653-1722) brothers and other literati. But the Namin Calligraphers and Painters Group in the Vicinity of Capital Seoul, likewise enjoyed traveling around Geumgangsan Mountain, and played a leading part in the Geumgangsan Mountain Travelogue Literature and Painting.
Seven years earlier than Kim Changhyeop, in 1664, Yi Hajin authored Geumgandorogi (金剛途路記). Subsequently, influenced by him, his son named Yi Seo, Yi Seo's close friend Yi Manbu, and Yi Seo's follower Yun Deokhui, among other literati, endeavored to travel around Geumgangsan Mountain and write travelogues.
The Namin Calligraphers and Painters Group in the Vicinity of Capital Seoul, pioneered new painting trends in the second half period of Joseon such as Donggukjinche (東國眞體), genre paintings, western painting style, and the Southern school literati painting style. Likewise, this group pioneered a new arts culture centered on the Painting of Geumgangsan Mountain, ahead of the Baegaksadan group. In 1700, Yi Seo traveled around Geumgangsan Mountain and crafted the Painting of Geumgangsan Mountain, the earliest work of the Namin Calligraphers and Painters Group in the Vicinity of Capital Seoul. which was produced eleven years earlier than the Painting Album of the Autumnal Scenery of Geumgangsan Mountain (楓嶽圖帖) painted in 1711 by Jeong Seon (1676-1759). Yi Seo both wrote travelogue and crafted painting of Geumgangsan Mountain, and attempted a new painting style of a complete view of the sea and mountains which featured Geumgangsan Mountain and the Gwandong area (eastern parts of Korea). His paintings were collected and enjoyed by Yun Duseo, and were commented by Yi Manbu. Given all of these, a new artistic trend centered on Yi Seo's painting of Geumgangsan Mountain.
Collected in the ancient Nogudang Residence, Yun Deokhui's Geumgang-yusangrok concerns a travel diary about his 35day trip of Geumgangsan Mountain. Gwandong area, and Seoraksan Mountain from March 22 to April 27 in 1747 - the 23rd year of the reign of King Yeongjo-at his age of 63. This 57page book is a valuable material to research into the literati painter's journey of Geumgangsan Mountain in the second half period of Joseon. In this book, Yun Deokhui said that he sketched Geumgangsan Mountain seen from the Sanyeongnu Pavilion of Jangansa Temple, and Geumgangsan Mountain seen from Heolseongnu Pavilion of Jeongyangsa Temple, which suggested that he also painted Geumgangsan Mountain when Jeong Seon was active as a painter. Yun Deokhui's Paintings of Geumgangsan Mountain, which currently exist only in records, are regarded as one of literati painter's relatively early paintings of Geumgangsan Mountain in the second half period of Joseon along with the works of Yi Seo, Jeong Seon and Heo Pil (1709-1768). This work was based on his theory of "true view" (眞景觀) which he established at age of 25 (1706), and by which painters should the true images of sceneries. According to extant historical records, for the first time, the term, "true view" (眞景), was used by Yun Deokhui in 1706, and it emerged in association with the "true view" landscapes which were actively painted in the 18th century. drawi

목차 (Table of Contents)

• Ⅰ. 머리말
• Ⅱ. 17세기 후반부터 18세기 전반에 이르는 近畿南人書畵家그룹의 金剛山紀行文學
• Ⅲ. 近畿南人書畵家그룹의 金剛山圖의 鑑賞ㆍ製作ㆍ鑑評
• Ⅳ. 尹德熙의 『金剛遊賞錄』의 構成과 內容
• Ⅴ. 『金剛遊賞錄』과 尹德熙 繪畵와의 相關性
• Ⅵ. 맺음말
• 참고문헌
• ABSTRACT

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