17세기, 仁祖 시절의 새로운 회화경향 -東淮 申翊聖의 寫生論과 實景圖, 肖像을 중심으로-

Abstract

Donghoe Shin Ik‐seong (1588~1644) is a literary man who married Princess Jeongsuk, a daughter of King Seonjo, and was designated as Prince Dongyang. Shin Ik‐seong was a noble‐class literary man whose life was in the middle of violent changes that can divide the Chosun Dynasty into the first half and the second half periods. In the changes of complicated political situations at home and abroad, he participated in the Restoration of King Injo and engaged in political activities against making peace with foreign powers. As the king’s son‐in‐law, he kept a distance from the bureaucratic society, and burying himself in nature, he poured out his literary talents through unworldly life. His poems and travelogs that he wrote as an excursionist were imbued with his inspiration from nature and characterized by Ming’s literary style that he accepted. In addition, his collection of books, paintings and calligraphic works, and his writings on painting and calligraphy as well as his painting and calligraphic works make us reconsider Shin Ik‐seong’s status in the history of literature and arts. All of them bear the tendencies of rich noble families living in Seoul, and are connected to real landscape literature or real landscape paintings in the late Chosun Dynasty. Shin Ik‐seong’s paintings and calligraphic works are prominent in the history of literature. As revealed by his excursions and records on mountains and rivers, Shin Ik‐seong’s experiences in visiting scenic places created the concept of ‘real landscape.’ He made it public that Lee Deung, a first‐class painter in those days, drew real landscape paintings without seeing the real scenes, and criticized hisworks out of affection to him. The painting theory of ‘real landscape,’ which maintains that painters should embrace and digest landscapes or objects in their heart rather than drawing them as they are seen, can be called the theoretical base of ‘real landscape paintings’ in the late Chosun Dynasty. Shin Ik‐seong did not stop at theories and criticism but tried to draw his own villa with his skills. <Gyesanhangeodo > of Geungyeokhwahwi (Gansong Art Museum) and <Baekunrudo> of Baekunrucheop (private collection) are merely small works drawn as a hobby, but they indicate his high position as a literary painter. <Baekunrudo> reminds us of the painting technique that capture the scenery of his garden full of the screen. Breaking away from the tradition of imaginary real landscape paintings in the early 17th century, he shows the model of sketchy real landscape paintings. It is a new viewpoint as a precursor of paintings in the late Chosun Dynasty that he sketched the ground of his life by contemplating it and depicting his daily customs in the drawings. <The Portrait of Shin Ik‐seong> (owned by Shin Dong‐seon, one of his descendents) drawn by a first‐class painter and the copies attract our attention as they mark a milestone in the history of portraits in the Chosun Dynasty. It is because it is the first portrait in Confucian uniform with an abdominal band and simeui (a formal jacket for high officials) during the period when the portraits of meritorious retainers in the official uniform were popular. This form is a precursor of literati’s portraits popular in the late Chosun Dynasty.