조선시대 ‘江南春’의 문학적 이미지와 <江南春圖>

Abstract

This thesis aims to clarify what literary and pictorial images created by literati and painters in the Joseon Dynasty symbolize Chinese “Gangnam Spring(Gangnamchun, 江南春).” Gangnam in China is an ideal place with its beautiful scenery, long history, flourishing culture, secular riches and pleasures, and has been loved by literati in the later times. Gangnam indicated a geographic and administrative area specifically but also was a cultural notion created by language and visual images, which again contributed to the establishment of the Gangnam image in literature and painting. “Gangnam Spring” where time concept is applied to Gangnam, it is the most favored space-time among “Gangnam View(Gangnamkyoung, 江南景).” The literati of the Joseon Dynasty imagined Gangnamchun and expressed their ideals and emotions through the images created by their indirect experiences with Chinese poetry, geographical documents, paintings, and information from diplomatic mission to Beijing. The understanding and envy of Gangnamchun, which was an imaginary space-time that could not be experienced, is possible by studying the images of Gangnamchun that is reflected in literature and visual images. First, the tradition of Chinese Gangnamchun literature, which influenced the poetry and paintings of Gangnamchun in the Joseon Dynasty was studied with the particular focuses on the Gangnamchun literature and paintings by the literary artists of Suzhou area in the Ming Dynasty. The tradition of Gangnamchun poetry and painting was established during the Period of North and South Dynasties and was developed into the new phase by Suzhou literary artists in the Ming Dynasty. Moreover, the Gangnamchun paintings were created to commemorate verses in response following the rhymes used by Ni Zan of Yuan Dynasty. In the Joseon Dynasty, Gangnamchun and Gangnamkyoung became the object of envy as the ideal place of beautiful and graceful view and as the place for a recluse from the early time. It was often considered as a lively and peaceful countryside and also as a solitary and quiet scenery near the river in 16-18 centuries. The traditional motifs representing the space-time of Gangnamchun such as spring water, weeping willow, beautiful waterside land, fog, and spring flowers were continuously reflected in the poems of Gangnamchun during the Joseon Dynasty. Paintings of Gangnamchun in the latter period of the Joseon Dynasty was largely influenced by the work of Du Jilong(杜冀龍), a Wu School painter, and was also portrayed in paintings by poems in the Tang and Song Dynasties. It is important to note that Lee Hagon, Kim Seongha, Kim Gwangsu, Gang Sehwang, Shim Sajeong, Kim Gwangguk, and Ri Insang, who were strongly influenced by Gangnam culture, led the creation and appreciation of the Gangnamchun paintings. The visual image of Gangnamchun is changed from the secluded riverside scenery with the vast stretches of water to the animated view with the harmony of nature and humans. Furthermore, the small pavilion near the water were gradually transformed into the residential area with housing structures, and it became like the secluded space of the city with the expression of literati’s lifestyle of tranquility such as a leisurely conversation, fishing, enjoying the water view, and sightseeing.