동아시아 회화의 복제와 파생에 대한 일고찰 ― 휘종의 매 그림 유행을 중심으로

Abstract

It seems intriguing that hawk paintings of Huizong were appreciated here and there of Korea, China and Japan in the sixteenth and seventeenth century. It was an almost sudden appearance, because it was five hundred years after Huizong, the last emperor of the North Song dynasty, died. According to literary documents of Korea and China, the paintings show a white hawk on a perch and an inscription by Cai you, a retainer of Huizong. The documents explain that the people in those days believed that Huizong’a hawk painting had magical power to exorcise evil spirits and that talisman of hawk painting was related to Huizong’s. Many hawk paintings by Huizong are extant, showing various images of hawks in color and posture. This changed hawk images were unavoidable, as many reproduction occurred. The various images are an evidence of increased demands for Huizong’s hawk painting at that time. In this situation the spin-off painting culture from the Huizong’s hawk painting showed up. For example, paintings and prints of a pair of hawk, white and blue, presented by Taezong, a King of Choson Dynasty, were very polpular in the eighteenth century of Korea. The reproduction and circulation of the image of Taezong’s hawk seem similar to those of Huizong’s. It would mean that Taezong’s hawk image was believed as talismanically functionalized painting like Huizong’s. Besides, it is understandable in this context of reproductions and derivations that paintings of almost same images are attributed to several different famous painters. A hawk painting by Yi am of Choson, one by Lang shining of Qing, and another by Huizong show all the very similar hawk and even the same meandering of red twines under the hawks of these three paintings. These paintings must have been produced in the reproduction process and then obtained the names of well-known famous painters after the time of belief in the magical function of hawk painting passed.