趙孟頫에 의한 自己表象의 한 手法 = The Method of Zhao Mengfu's Self-Representation Surrounding the Painting Mind Landscape of Xie Youyu

국문 초록 (Abstract)

趙孟?(1254-1322)의 〈謝幼輿丘壑圖卷〉(프린스턴대학미술관)은 晋代 中朝八達의 하나인 謝鯤(字는 幼輿)의 고사를 나타낸 그림이다. 이 화권은 언뜻 보아 구식 채색산수화이며, 山容은 傳 顧愷之의 〈洛神賦圖卷〉(北京故宮博物院 등)의 암산, 인물 포즈는 육조시대 〈竹林七賢ㆍ榮啓期圖〉(南京博物院) 등, 이후사용된 평안하게 쉬는 전통적 隱逸을 나타내는 전형적 도상을 상기시킨다. 육조시대풍 암석 사이에 그린 인물 모습은 옛 은자, ‘언덕에 살고 골짜기에서 낚시질하는 즐거움을 아는’ 사곤을 표현하는데 걸맞는다.
이 논문에서는 이 그림을 둘러싼 제작자와 감상과의 역사의식을 고찰하고자 했다. 제작시에 상정한 감상자는 姚式을 비롯한 동시대 ‘南人’지식인들이며, 그들은 이 그림에 대해 그려진 대상, 즉 謝鯤에 자기를 同化했을 것이다. 제작자 조맹부는 감상자들의 의식과 근본적으로 공통되는 한편, 이 주제를 처음으로 그려 찬사를 받은 고개지(345?-406)와 자신을 동일시한 것이다. 이 화권은 董其昌도 잘못 보았을 정도로 양식적 특징을 억제해서 그린 것으로, 비교적 초기 작품 중에 조맹부가 화가의식을 명시한 중요한 작품으로 평가할 수 있겠다.
자신의 회화사 의식을 표명하는데 자신을 그리지 않으면서 자신을 표상하는 수법은 喬仲常의 〈後赤壁賦圖卷〉(낼슨앳킨스미술관)이나 馬遠의 〈西園雅集圖卷〉(낼슨앳킨스미술관) 등 송대 고사인물도에서 이미 확인할 수 있으나, 이 그림은 원대 복고주의적 측면을 나타낸 대표작품일뿐만 아니라, 그 수법들을 더욱더 명확한 형태로 계승한 작품이라고 볼 수 있다.

다국어 초록 (Multilingual Abstract)

The Mind landscape of Xie Youyu (Princeton University Museum) by Zhao Mengfu (1254-1322) is a painting that depicts d1e legend of Xie Kun (zi: Youyu), one of the bada (eight talents) from me mid Eastern jin period (280-322). At first glance this handscroll is a landscape painting with colors created in an antiquated style. The shapes of the mountains are those found in the Nymph of the Luo River, attributed to Gu Gaizhi (345-406, The National Palace Museum, Beijing), the pose of the human figure prompts the style of those seen in the Seven Worthies of the Bamboo Grove and Rong Qiqi (jiangsu Provincial Museum, Nanjing), and reminds the viewers of the typical traditional style of me scholar recluse in a moment of leisure from the Six Dynasties period. The appearance of the figure painted between the spaces of the rocks also in the Six Dynasties style is those of an ancient recluse and is suitable in representing Xie Kun who "discovered the pleasures of dwelling in the hills and of fishing in the valleys."
In this presentation I will analyze the history consciousness of the creator and viewers of this work. The anticipated viewers of the painting at the time of its creation were intellectuals among contemporary nanren (southerners) such as Yao Shi and others, and they would have overlapped their selves onto the person of Xie Kun who was the object of depiction in this painting. In comparison to this factor the artist Zhao Mengfu would have correlated in feeling with his viewers but simultaneously would have overlapped himself with Gu Gaizhi who is known to have first painted this theme. The Mind Landscape of Xie Youyu was painted in a manner in which the painter suppressed his individual artistic features to the point that even Dong Qichang (1555-1663) mistook the work. It is possible to situate this painting as a relatively early important work.
The method of representing one's personal and historical consciousness in art without literally depicting the self can be already confirmed in Song period painted legends such as in the Illustration if Second Prose-Poem on the Red Cliff by Qiao Zhongchang and in Composing Poesy on a Spring Outing by Ma Yuan (both from the Nelson-Atkins Museum of Art). However this work can be defined not just as a representative work of Yuan period revivalism bur as a work that inherits the visual methodologies of self-representation in a more distinctive manner.