西巖 金有聲의 繪畵 硏究 = A study on Paintings of Seoam Kim Yu-seong

다국어 초록 (Multilingual Abstract)

Kim Yu-seong(1725-?) is a painter in Royal Painting Institute during the King Young Jo in late Joseon who visited Japan as a delegate in the Envoy to Japan. He participated in the 11th Envoy in the Year of Gyemi(癸未,1763) among 12 Envoys sent by Joseon Dynasty. It is considered as one the most crucial Envoys in exchanging paintings and artists between Joseon and Japan.
Activities of Kim Yu-seong can be found in the records of the Envoy as follows. He reproduced the map of Japan, painted landscape and received 5 sets of silver letters as a prize from the Shogun in a talent screening. He collaborated with a painter Byeon Bak, inofficial participant of the Envoy, and most of his currently remaining paintings were made during his visit in Japan based on the official stamps stating Joseon, painting of Joseon or painting of Small China.
Various subject matters were used in his paintings and landscape in particular was most frequently used. He adopted popular landscape painting methods of actual facts(眞景) and the Southern Chinese(南宗衋風)School. Here, it is significant that he showed Japanese beautiful scenery of Joseon through paintings of Geum Gang mountain(金剛山) and Nak Santemple(洛山寺).
On the other hand, he adopted a conventional painting method of the mid Joseon in his paintings of Four Gracious Plants and Birds & Flowers. He made paintings following a traditional method and simultaneously reflecting a trend of his era. Moreover, he used the same subject matter in several paintings distinguished by different compositions and perspectives. He repeated painting several pieces by using the method from the paintings upon request in Japan.
Regarding portraits, paintings of the historical characters and of the religious characters are known today. The former had a feature of recording, which implies that painters were influenced by the ideology and style of the Southern Chinese School. The latter was a popular subject matter for painters in Envoys in general, which implies that it was suitable for the taste of Japanese. Furthermore, the painting of Cloud and Dragon by Kim Yu-seong is known today. It is influenced by the Japanese style, however, it shows his talents of mastering diverse expressions of the same subject and sophisticated rendering.
Another implication of his paintings is the significance of exchanging paintings between Korea and Japan. Compared with China and Korea, Japan was introduced to paintings by the learned men relatively late, thus painters from Joseon enormously intrigued Japanese painters of the Southern School. Ikeno Taiga(池大雅) for instance wrote a letter to Kim asking about real scenery landscape paintings and techniques of the great Chinese artists. Kimura Kenkado(木村蒹葭堂) of the Osaka School actively communicated and debated with artists of Joseon. Kenkado possessed 10 paintings of Kim and Seojicheop(栖志帖) in which poetry of a clerical staff Seong Dae-joong was included. Identical paintings of Kim before and after the Envoy experience are also found in Seojicheop.
Some of Kenkado's paintings are similar to those in Seojicheop which implies the influence of Kim on his paintings. However the Japanese Southern School is defined in a broad term and it is necessary to conduct an elaborate research on the influence of Kim. Kim's paintings might have been introduced to Kenkado in his study Gyeom Ga Dang where many learned men gathered, wrote poems and appreciated paintings.
The significance of Kim Yu-seong's works lies in providing cultural meaning based on compliments by Japanese learned men and presenting specific paintings of Joseon introduced to Japan in the late 18th century. Furthermore the 11th Envoy to Japan in which Kim participated was the last trip to the heartland of Japan such as Edo so that it was the last direct exchange between painters of Joseon and Japan.
This study examined the characteristics of the paintings by Kim Yu-seong who was the member of the Royal Painting Institute. It also examined the exchange between painters of Korea and Japan based on the exchange with the Japanese Southern School during Kim's visit as a delegate. The significance of this study lies in collecting previous studies on Kim's paintings and providing data. Further studies are encouraged to investigate in detail the exchange of paintings between Korea and Japan based on the understanding of Kim's works. Such studies can shed light on the cultural exchange in East Asia of the 18th century.

목차 (Table of Contents)

• l. 머리말 = 1
• Ⅱ. 金有聲의 生涯와 通信使行
• 1. 生涯 = 8
• 2. 癸未使行 = 14
• Ⅲ. 金有聲의 作品과 繪畫的 特徴
• 1. 畫壇의 動向 = 22
• 2. 金有聲의 作品世界
• 1) 山水衋 = 27
• 2) 花鳥衋 = 43
• 3) 四君子 = 45
• 4) 人物畫 = 47
• 5) 雲龍圖 = 53
• 3. 繪畫的 特徴과 意義 = 55
• IV. 朝鮮繪畫 認識에 미친 影響
• 1. 江戶時代 南畫家와의 交遊 = 62
• 1) 이케노타이가(池大雅) = 65
• 2) 기무라겐카도(木村蒹葭堂) = 71
• 2. 日本人의 朝鮮繪畫 認識 = 78
• V. 맺음말 = 83
• 【參考文獻】 = 88
• 【表 目錄】 = 96
• 【挿圖 目錄】 = 97
• 【圖版目錄】 = 98
• 【圖版】 = 102
• 【附錄1】 = 132
• 【附錄2】 = 135
• 【Abstract】 = 138
• 【日文摘要】 = 141