18-19세기 箕城圖 屛風연구

Abstract

During the Joseon dynasty Pyongyang (平壤) was designated the Western capital (西京) and it was a stronghold in terms of national defense, diplomacy and economy. Screens depicting grand views of the fortress of Pyongyang (Giseong-do 箕城圖) were very popular during the 18th and 19th century. Paintings of Giseong began to be made from the second half of the 16th century at the latest and its status as a painterly icon had been firmly established by the end of the 18th century when it also was produced and distributed in the form of woodblock prints. The largest number of remaining paintings of Giseong show the recognition about Gija (箕子) of the time. They reflect the intellectual milieu of the time and the interest in the restoration of historical sites in which are related in Gija. In the second half of the 16th century, Yun Du-soo (尹斗壽), the provincial governor of Pyongyang Province, compiled the Gijaji (箕子志) and the Pyongyangji (平壤志), and later, in 1776, Seo Myong-ung(徐命膺), the provincial governor of Pyongyang Province, edited the Gijaoegi (箕子外紀). Since these volumes were re-published several times until the 19th century the interest in the city of Pyongyang and in paintings of Giseong developed among the general public. Moreover, the woodblock prints that were included in the volumes served to heighten the iconic status of paintings featuring Giseong. Later paintings of Giseong were drawn in the styles of court painters and reflect the artistic trends that were widespread at the Dohwaseo (圖畵署) between the end of the 18th century and the beginning of the 19th century. This is manifested in compositions drawn from a bird’s eye view and the use of parallel linear perspective. Furthermore, shapes are drawn in clear lines and mountains are colored using mainly green pigment. On the other hand, literary records suggest that in the 18th and 19thcentury the production of screen paintings of Giseong was largely similar to that of processional paintings. It should be noted that the style of woodblock prints of Giseong are also closely related to the illustrations that feature in contemporary government-published books. It is highly likely that also such woodblock prints of Giseong were drafted by court painters including Kim Hong-do (金弘道) and it is possible that they were produced either in Pyongyang or Hanyang (漢陽) which in those days were known as places with brisk activity of printing. Most surviving examples of paintings of Giseong are copies which were made as the number of people ordering them increased in the 19th century. Such later copies can mainly be characterized by their schematic expressions and the more elaborate use of colors. This article concludes that the continuous production of screen paintings of Giseong was retained through the copy rather than the creative transformation of an iconic image.