양식과 페르소나(Persona) = 이인상의 자아의식과 작품세계

국문 초록 (Abstract)

형식주의와 양식분석론에서 소홀히 다루어졌던 것은 ‘양식의 선택에 있어 작가의 능동적 역할’이다. 조선후기의 대표적인 문인화가인 이인상(李麟祥, 1710-1760)은 명 유민의식과 서얼의식을 바탕으로 자신의 자아와 관련된 작품을 다수 남겼다. 이인상의 회화는 양식이 결코 시각적인 측면에만 한정된 것이 아니며 화가가 남긴 자아의 다양한 흔적이라는 것을 알려준다.

다국어 초록 (Multilingual Abstract)

Style is one of the most elusive terms in art history. What constitutes style is hard to define. But, style has been considered an explanatory tool for visual and formal traits of an artwork. Formalism and stylistic analysis, primarily concerned with visual aspects of a work of art, have been dominant in art historical studies. Formalism has excluded the painter’s active role in the choice of style from discussion of the nature of a painting. The inherent visual features of a painting are, in fact, inseparable from the painter’s self and identity. The painter’s works show his various public and private personae. Formalism does not explain entirely the complexity of the painter’s personae. Style is closely related to the painter’s self-fashioning efforts. The case of late Chos?n Korean painter Yi Insang (1710-1760) serves to illuminate how his stylistic choices were deeply embedded in the making of his personae.
Yi In-sang was born into a prestigious yangban (the class of title-holders and scholar-officials) family that produced a large number of high-ranking officials and eminent scholars. Despite his outstanding family background, Yi was born as a descendent of a secondary son. The secondary son, called s??l, was an illegitimate son whose commoner mother was not an official wife to the yangban father. Because the mother was a concubine, the s??l was denied most of the normal benefits of being born as a legitimate son in the household. Secondary sons were barred by law from taking the civil service examinations. As a result, they were not able to have prestigious careers in the bureaucracy. They had to accept an inferior status before a legitimate half-brother whether older or younger. They were not even allowed to call their father “father.” Although they belonged to the ruling yangban class, they were deprived of all the social prestige and privilege attached to the class.
Yi In-sang was at the center of s??l art and literature, constantly investigating the self and identity of himself and his class through autobiographical works of art thickly layered with self-referential implications and allegorical nuances. The act of self-questioning is found in most of Yi’s paintings. The profundity of Yi’s art lies in the very visual embodiment of his self-conscious efforts to explore fundamental questions of both his subjectivity and the s??l mentality. Yi’s paintings are thus located at the point of intersection between his private and public self as well as his individual consciousness and collective unconsciousness. Yi was an interesting character. He was a loyalist to the bygone Ming dynasty. Throughout his life, Yi showed his unchanging loyalty to the fallen Chinese dynasty. It would thus be no coincidence that Yi aligned himself with such Ming loyalist painters as Hongren (1610-1664) and Shitao (1642-1707) and he made self-conscious reference to the styles and themes of these Chinese painters. Hongren’s style, characterized by the quiet and static compositions, a cold and detached atmosphere, angular and austere landscape forms, and dry brushwork, became a primary source of inspiration for Yi In-sang’s art.
Yi also actively emulated in his landscapes the thematic density and allegorical allusiveness that are characteristic of the works of Shitao. We do not have clear evidence of how Yi In-sang gained access to the works of Hongren and Shitao. It is clear, however, that the influence of these Ming loyalist painters is present in Yi’s paintings. Yi In-sang shared the power of self-expressive, calligraphic brushwork with Shitao. Yi’s early paintings are primarily concerned with his complex mindscape of agony, anguish, despair, and bitterness. As seen in Trees and Rocks, dated 1738, now in the National Museum of Korea, the composition of his landscapes is simple, plain, and reductive. What is, however, remarkable in this landscape is the richness of autobiographical allusions that does not allow an easy reading of wh

목차 (Table of Contents)

• Ⅰ. 양식과 화가의 선택
• Ⅱ. 이인상의 명 유민의식과 안휘파 회화
• Ⅲ. 이인상의 서얼의식-간오(簡奧)와 초살(焦殺)의 산수화
• Ⅳ. 혼재된 페르소나
• 참고문헌
• Abstract
• 질의