19세기 금강산도의 일면 - 개인소장 ‘금강산도 10폭병풍’ 고찰

Abstract

Ten Panel Folding Screen Painting of Kemgang Mt. at a private collection which was displayed recently is impressive in its size showing panoramic view of Kemgang Mt. and personified visualizing of almost all the peaks of the mountain. The basic composition and personification are from Korean tradition, but the huge frame of screen making one panoramic view is newly tried in the nineteenth century. At that time, the size and frame of screen after the huge ritual screen painting in the court has been preferred, the sponsors for this screen painting chose the most authoritative form. The written names for the famous spots on the painting reflects the political tendencies of the sponsor of the painting. “Huanglyudam or yellow colored brook” written on this painting is for “hungcheongang which means a yellow river where dead people must cross first. This change of the name is against Buddhism and also a political group, Andong Kim’s family, who already changed “huangchengang” into “Okkyeongdam.” It means that the sponsor for this painting must be a political group associated to the Pungyang Cho’s family who was against the Andong Kim’s family. Besides, there is another similar work to Ten Panel Folding Screen Painting of Kemgang Mt. at the National Folk Museum of Korea. Although the screen at the Folk Museum missed six panels, the remained four panels are almost the same to those of ten panel screen. Through these two similar folding screens, it would be said that there was a new aspect of Kemgang Mt painting by a political group in the nineteenth century.