조선시대 누정문화와 실경산수화

다국어 초록 (Multilingual Abstract)

Any study of Korean art of the Joseon period usually involves a discussion of such terms as sihwa ilchi (“the correspondence between poetry and painting”) and samjeol (“the three perfections”), or the three genres of poetry, calligraphy, and painting. These distinctive features of art reflect the lifestyle of Joseon’s Confucian elite, who searched for a correspondence between and the integration of ideas, scholarship, the arts and practice. The Nujeong (lit.“ lofty pavilion”) landscapes discussed in this study were also a genre of painting that materialized through the philosophical concept of jihaeng habil (“unity of knowledge and action”) cherished by Joseon’s Confucian literati. Neo-Confucian scholars were keenly interested in transforming Neo-Confucian teachings into reality, and spent their lives contemplating the means to realize the ideal states of cheonjiin (“heaven, earth and humanity”) and cheonin habil (“unity of heaven and humanity”). Joseon’s Neo-Confucian elite continued to be active in the building and running of pavilions (nujeong) because they realized that these architectural structures served as ideal representations of their philosophy. Their love of pavilions eventually led to the birth of the distinctive cultural phenomena now known as Nujeong Culture, Nujeong Literature, and Nujeong Landscapes. As a term recently introduced by the author of this study, Nujeong Landscapes refers to the silgyeong (“real”) landscape paintings of Joseon, in which a pavilion and the scenic landscapes 185 around it were depicted. The landscape paintings classified into this genre are a result of the widespread interest among modern academic circles in the integration of poetry and painting (sihwa), poetry, calligraphy and painting (siseohwa samjeol), and literature, history and philosophy (munsacheol) in the areas of Nujeong Culture and Nujeong Literature. In this essay, I conclude that the Nujeong landscapes were formed in the process of reflecting the socio-political functions and symbolism of these“lofty pavilions”in Joseon society, and classify the remaining works into three categories. The paintings in each category reflect the gradual changes which occurred over time in terms of the functions and symbolic nature of the pavilions. A typical nujeong landscape painting contains the element of seogyeong (“landscape depiction”), whereby the painter would capture a scenic view as seen from a pavilion, and the element of seosa (“event depiction”), which revealed the background and the purpose of the painting. A viewer can perceive the first element through the painting techniques employed by the painter, and the second through the individual subject matters captured in the painting, along with the postscript written on the painting, which typically contained a title, prayer, and a list of the participants in the occasion captured by the painting. After an extensive study of the elements in the remaining nujeong paintings, I classified them into three groups: gyehoe (“literary gathering”), gongcheong (“public building”), and sajeong (“private pavilion”) nujeong paintings and then discussed the symbolic nature of the works in each category. As one of the most significant art genres developed in Korea, the Nujeong landscape paintings were produced from the early days of Joseon to the very last days of the dynasty, reflecting and defining the characteristic features of the Silgyeong landscapes in Joseon.

국문 초록 (Abstract)

목차는 학술논문의 목차를 따름.
기타제목에 한자 서명 기입.

국문 초록 (Abstract)

Ⅰ. 누정문화․ 누정문학․ 누정산수화
Ⅱ. 누정의 종류와 기능
Ⅲ. 누정산수화의 서경과 서사
Ⅳ. 누정산수화의 의의