繪畵史의 관점에서 보는 申叔舟의 시문— 「畵記」와 題畫詩文를 중심으로 —

Abstract

Sin Sukju(ca.1417-1475)’s literary works related to paintings are illuminating the lost paintings and practice of painters in the fifteenth century of Joseon like below. An Gyeon(act. ca. 1440-1470), the most successful court-painter, was good at the landscape paintings in the both styles of Song and Yuan China, his special technic of partially using gold and red color on the ink painting of landscape, and his capability of portrait such as the Portrait of Prince Anpyeong(ca.1418-1543). Kang Huian, the well-known literati-painter of early Joseon, was recognized as painter of plant-painting at that time. Figure paintings depicted historical people who invoke righteous wrath. For a portrait in the court, painters described the dead figure just after his death. There were various political paintings and developed technic of making folding screen painting at that time. Hwagi, the only record on paintings collected by the prince Anpyeong, a son of King Sejong, shows that Guo xi’s works of the Song China was the most favored and that cloud mountain painted in the Yuan dynasty was beloved, too. Hwagi also tells that colorful paintings of birds and flowers and the ink paintings of orchid, bamboo and plum blossom during the Yuan flowed into Joseon. Angyeon’s works reflected the Chinese paintings of the Song and the Yuan recorded at Hwagi. The documents produced after Hwagi followed Sin’s way of seeing and understanding especially about Chinese painting. Through his literary documents, Sin explains the value of painting and the way of appreciation. According to Sin’s theory, paintings may help viewers to see this world like poem and change scholar’s mind wide, clean and righteous. Sin’s literary works about paintings are crucially helpful to making the painting-history of the fifteenth century because the paintings were mostly lost in the coup d'tat when the prince Anpyeong was ousted and the long wars in the late sixteenth and the early seventeenth century.