시인이 말하는 화가(Ⅱ) : 蘇軾의 ‘王詵’론

Abstract

Wang Shen left behind the two surviving paintings, Misty River and Layered Peaks and Light Snow on a Fishing Village, which are not enough to know his true features as a painter and art collector, even though there are not a few paintings which are listed on Xuanhe Painting Catalogue. However, the poems-on-paintings works that Su Shi, one of the most accomplished figures in the Song dynastic era, produced give us a window from which we can see his relationships with prominent literati and his political setbacks. The handscroll in the Shanghai Museum called Misty River and Layered Peaks shows us more than the painter himself. It tells us another two literary persons, Wang Gong as a collector and Su Shi, who wrote the poems-on-Paintings on the work. The handscroll Misty River and Layered Peaks reflected the melancholy of these three people who had much in common with the political scandal and exile. We can see how, through colored landscape paintings kept in Hall of Treasured Paintings, Wang Shen evaluated Li Cheng who accomplished the monumental style of landscape paintings. We can also know how Wang Shen, who inherited the levelled-off perspective, one of the traditional way of painting, tried to find his way of painting. Another notable aspect is ‘Reception Esthetics’ that Wang Shen shows not only between painting and poetry but also between a creator and a receiver.