朝鮮後期 書畵收藏論 硏究― 서화수장에 대한 인식과 실제

Abstract

The late Joseon period witnessed an extraordinary surge in collecting of art works. This paper briefly surveys Joseon art collectors' discourses on the collecting of calligraphic works, paintings, and old objects. As presented in this paper in details, the main idea of the discourses on art collecting on the late Joseon period, has evolved as the collecting is the individual's unique traits increasingly recognized as a symbol and a quest for the ideal state of the collectors. As Chinese comprehensive books and miscellaneous series of the Ming and Ch'ing Dynasties have been flowed to Joseon, the discourses of the appreciating, authenticating, and well-keeping art works became to be emerged as the issue among the art collectors. A quarter of the 17th century, the discussion related to the art collecting put forward a positive and was gradually spread. ‘Wanmul(玩物), appreciating things’ was accepted as the inner potential human quality which was strictly abandoned by the Confucian principles dominated in the Joseon society, newly understanding the humane nature. It is notable that this social milieu means that a love for art collection was developed as a single aesthetic theory in the history of Joseon art. As we have seen in the previous chapters, the building individual archives of art works, distributing works among the collectors, and reading miscellaneous books related to antiques are the specific phenomena that made professional collector like Yu Man-ju(兪晩柱, 1755~1788, sobriquet Heumyeong) were more active. As a descendent of Gigye Yu clan (gigye yu-ssi 杞溪兪氏), one of the illustrious families of the late Joseon period, Yu was a prolific writer who left behind the voluminous records under the intellectual and artistic ambience of the family. His diary written for 13 years, is the miscellanies that contain the vast information on various Confucian books, novels, paintings, calligraphic works, manuals of painting, and antiques exposed to his daily experiences. The presence of the professional collectors was the concrete aspects in the late Joseon period. Various discourses on art collecting could be generated on the foundation of such a positive social perception.