민화 소상팔경도에 나타난 전통과 혁신

Abstract

This research paper aims at a comprehensive understanding of the significance and aspects of the development of Sosang palgyeongdo (Eight Scenic Views of Xiaoxiang Rivers), from the traditional painting style to that of folk painting. One may compare the Korean folk painting with a lake under a large mountain. The folk painting contains all the elements of the Korean painting developed since time immemorial just like the lake under a mountain foot storing water flowing from all of its valleys. A fine example can be found in the paintings of the Eight Scenic Views of Xiaoxiang Rivers. The famous scenic views were captured in the traditional Korean folk paintings in carefree and unreserved images defying the standards of the traditional landscape paintings. That is why I conclude that the paintings of the Eight Scenic Views of Xiaoxiang Rivers became the sum of all Korean folk paintings successfully bridging antiquity with modernity and achieving the significance they maintain today in the Korean art history. The folk paintings of the Eight Scenic Views of Xiaoxiang Rivers are based on the death of the legendary Chinese king Shun and his two wives, Ehuang and Nuying, who killed themselves to remain faithful to their husband. A strong influence from Confucian ideologies and their combination with beautiful natural scenes form a distinctive element of Korean traditional folk painting. Collectors of the Eight Scenic Views of Xiaoxiang Rivers in the past regarded the painting not just as one related with Confucian teachings but as poetic paintings. The painting was effectively combined with other genres of art like Flowers and Birds, Ten Longevity Symbols, scholar’s Accouterments between the late 19th century and early 20th century, contributing to the creation of various new images. The multi-faceted perception and changes brought to the art world of the period played a key role in enriching the meaning of the images depicted in the Eight Scenic Views of Xiaoxiang Rivrs.