금강산도의 새로운 양식, 석당박물관 소장 <금강전도 12첩 병풍> 연구

Abstract

From the old times, there has been a general recognition that Geumgang Mountain is an admirable scenic area of national spirituality as well as a surreal ideality. Also, that area has been regarded as one of the sacred places of Buddhism, a residence of Taoist hermits, and a space for practicing the very way of Confucianism. For Confucian scholars of the old times, Geumgang Mountain was highly thought to be a place where they get and enjoy a taste for the arts, and a subject of art that inspires the creation of best paintings added with a poem or calligraphy. Recording in form of pictorial illustration, Geumgangjeondo is a combination of landscape paintings that show Geumgang Mountain that is nationally, religiously and artistically symbol. It is the second-to-none depiction of that mountain that was made since the Koryo period, they say. This study was designed to inspect <12-Fold Screen of Geumgangjeondo>(Busan Metropolitan City Tangible Cultural Heritage No. 58)_, which is kept in Seokdang Museum of Dong-A university, in terms of painting composition, features and expression techniques. In association, the study tried to discuss how paintings of Geumgang Mountain were made and culturally appreciated in the 19th century, and presume when that screen was actually manufactured. The foresaid 12-fold screen is larger than any other similar screens depicting Geumgang Mountain that still remain. It is a huge combination of sequential paintings, each colored on paper and having the dimension of 28.2cm in breadth and 131.5cm in height. When it comes to perspective, the 12-fold screen analyzed here is an overall representation of Oegeumgang viewed from the East Sea. Depending on what to illustrate, that screen can be divided into three parts, upper, middle and lower. The upper part shows peaks like Birobong, Ilchulbong and Hyeolmangbong, and the middle part temples, hermitages, falls, valleys and earthy mountains. The lower part depicts Haegeumgang as an offshore area by using the expression technique of Supamyo, a method that was often applied to making maps during the 17th century. Except the abovementioned 12-fold screen, there’s rarely a picture that shows virtually all parts of Geumgang Mountain which range from Birobong to Haegeumgang. On that screen, names are found added in writing to illustrated peaks and like. Also, temples and other famous spots are depicted in a very detailed, precise way. Painted on throughout the 12-fold screen, the scenery of Oegeumgang, which covers from Shingyesa to Yujeomsa Temples along the coast of East Sea, feels so magnificent. This feeling may be attributed to the style of blue-green landscape painting. The huge combination of sequential paintings are characteristic of barrier-like structuring and decorative styling. These features seem to be a developmental succession from an earlier type of folding screen, that is, Yeonpok Gyebyeong that was made in blue-and green style during the 17th to 18th century. The 12-fold screen inspected here expresses various parts of Geumgang Mountain in a geographical sequence. More specifically, the 10th to 12th folds illustrate Haegeumgang and Goseong-eup, the 9th fold Samilho, the 8th Yujeomsa Temple, the 6th Seonam(Eunseondae), the 5th Buljeongdae, the 4th the Twelve Falls, the 3rd Balyeon, and the 2nd fold both Birobong and the last sequence, Guryongyeon. By the way, right parts of Oegeumgang such as Okryudong, Singyesa Temple, Manmulcho, Ongcheon and Chongseokjeong are not found in any of the folds. Probably, those unseen parts were painted another folding screen. If so, it would be the biggest art of landscape that illustrates an overall view of Oegeumgang Mountain. It’s pretty possible that paintings on the investigated 12-fold screen were made by experts of official painter position under the supervision of royal court, especially when large sizes and high quality of the drawings are considered. Meanwhile, characteristics such as Supamyo, the expression of architectures in a legitimate painting style, that is, the style of blue-green landscape painting, flowing and smooth strokes, and precise and sophisticated depictions suggest that the 12-fold screen comprising scenery illustrations of Geumgang Mountain might have been manufactured sometime between the late 18th and the early 19th century.