소치 허련의 ≪소치화품(小癡畵品)≫ 연구

Abstract

Sochi Hwapum (小癡畵品) is an album of early works by Sochi Heo Ryeon (1809-1892) showing the foundation of his painting idioms. Also referred to as Heo Ryeon’s Jiduhwacheop (指頭畵帖), this album is one of the critical materials for studying jiduhwa or finger painting, a painting style using finger nails or fingers with or without a brush in the late Joseon period. In this thesis, the estimated year of production of works collected in the Sochi Hwapum is 1844 in consideration of Heo’s visit to Jeju, his activity there, and the features of his work. Not many works in his oeuvre can be clearly assigned a year of production, but the album offers an opportunity to better understand his early art. As Heo revealed that he explored calligraphy and painting while copying and imitating works of Yun Du-seo found in Gajeon Bohoe (家傳寶繪)(Family Treasured Painting) and Yunssi Gabo (尹氏家寶)(Yun Clan Family Treasure) and paintings from Jieziyuan Huazhuan (芥子園畫傳)(Manual of the Mustard Seed Garden) and Kushin Huapu (顧氏畵譜), Sochi Hwapum informs us of works Heo referred to in his early days. Heo often practiced landscape painting and the Four Gracious Plants. This album suggests that he addressed and practiced a variety of topics and was interested not only in the Southern School of literati painting but also in real-view landscape painting. Most works included in this album are jiduhwa. In its epilogue, Kim Jeong-hui wrote that “His jiduhwa is a heavenly dragon’s enlightenment by one finger.” This paper examines people’s awareness of jiduhwa in the late Joseon Dynasty and the hallmarks of Heo’s jiduhwa as well as painters who directly and indirectly influenced his jiduhwa. Although jiduhwa at that time was highly appreciated in connection with Buddhism, not many painters were involved in jiduhwa. This thesis also demonstrates that Heo’s jiduhwa was influenced by Kim Jeong-hui’s view of painting and jiduhwa by Joseon’s literati painters including Yun Jae-hong and Zen master Choeui.