黃山 金逌根의 硏山圖와 관련 題畫詩 연구

Abstract

Kim Yugeun (1785-1840), Kim Jeonghi (1786-1856), and Gwon Donin (1783- 1859) formed a deep friendship regardless of status and partisan politics. Their friendship was often referred to as seokkyo 石交 (friendship through stone exchange); while viewing and writing about stones like an artwork, they associated the unbreakable solid nature of stones with their steady solidarity during the turbulent period. Kim Jeonghi is the most influential figure in the literary milieu of nineteenth-century Korea but it is Kim Yugeun who shaped this particular culture of stone connoisseurship. Prior to him, painters mainly portrayed garden rocks but Kim focused on mountain-shaped inkstones (yanshan 硏山). Focusing on this difference, this paper demonstrates that Kim is the first and foremost painter of inkstones in Korean art history. In his renowned album Yellow Mountain’s Inkstone paintings, Kim Yugeun shows both Chinese influence and his own experimental artistic creativity. The first painting is one example in which he adapts Mi Fu’s style (Figure 2, right), whereas the second painting is a new attempt that employs a diagonal perspective to create the three-dimensional view (Figure 2, left). He also makes a new conceptual attempt, envisioning the landscape painting as an extension of inkstone painting (Figure 7). On the other hand, Kim is famous for paintings of suseok 壽石, miniature rocks favored by Korean elites. They are unique in shape and surface text but are not so strange or extraordinary when compared with Chinese miniature rocks (guaishi 怪石). They clearly show Kim’s artistic style in pursuit of xieyi 寫意 painting.