沙湖 宋修勉(1847~1916)의 繪畵世界

Abstract

This thesis is about Saho(沙湖) Song Sumyun(宋修勉, 1847～1916)'s life and his painting who was a literary painter in the 19th century . Song Sumyun was born in Sa Pyoung, Nam Myun that is located in Hwa Sun, Jeon Nam .He had Anyeo(顔汝) as ja and Saho as his ho. He had an excellent skill to be able to deal with various genres such as landscape painting, lotus flower, pine tree, crane painting, ox-herding painting, grapes, flowers and birds in addition to butterfly paintings and four gentleman paintings which were his speciality. His talent was demonstrated in four gentleman painting, especially ink plum painting and ink bamboo painting. Furthermore, his painting demonstrates his gift of flower and butterfly painting which illustrates a delicate painting style. His four gentlemen painting maintained the traditional style of painting which appeared in the middle / later Cho Sun period. Song Sumyun's ink bamboo painting took after Tanun(灘隱) Yi Jeong's(李霆, 1554～1626) work who was a painter in the middle of the Cho Sun dynasty. Ink plum painting has a character that there is a well-featured flower with nectar storks standing like two horns. It is shown that flower and butterfly painting has a delicate and realistic tendency and shows a relation with Nam Gyewoo(南啓宇, 1811～1890); a famous literary painter for butterfly painting in the 19th century. His landscape painting depicts a slender outline and a light-coloured picture. Song Su Myun's painting was followed by his nephew Yeomjae(念齋) Song Taehwoe(宋泰會, 1872～1941) and his son Maesa(梅沙) Song Daehwoe(宋大會, 1882～1975), which had a huge influence upon the formation of the painting track in Ho Nam province. Saho Song Sumyun's style can be attributed to his studies of the works of Shib zhu zhai shu hua pu(『十竹齋書畵譜』) and Gu shih hua pu(『顧氏畵譜』), published in the latter part of the Ming era and early in the Ching era. Additionally, he was not receptive to the change of central artistic circles rapidly, residing in a place for generations. The most significant reason for this was his preoccupation with a traditional painting style as opposed to modern styles of painting.