謙齋 鄭敾과 少論系 문인들의 후원과 교류(Ⅰ)

Abstract

This research focuses on the analysis of the Soron Party member's evaluation and criticism towards Jeong Seon and his artwork. It also discusses their ideas on true-view landscape painting, conceptual landscape painting, southern school painting and painting based on poetry. The issue on the collection of painting and calligraphy is also mentioned in this research. Each Soron members were politicians, writers and critics with unique character. They had their differences. However, they did have an overall tendency. Soron members shared their artistic visions and preferences upon this tendency. Jeong Seon himself was also effected by it. The following facts were confirmed by the Soron party literati's recording and analysis on Jeong Seon. 1. Soron members showed attention to Jeong Seon's true-view paintings, such as “True-view Landscape Painting of Sea and Mountain”. Since they had a keen sense of realism in their philosophy and study, the attention they showed can be explained as a reflection of their tendency in large. 2. The vivid sketching technique Jeong Seon used was evaluated highly among Soron members. This is an evidence of Soron member's interest towards even the detailed corners of art and literature. Specific painting techniques were a target of their interest and research. 3. Soron people prefered painting based on poetry. Jeong Seon painted diverse sorts of landscape painting-not only the true view, but also conceptual landscape painting, painting based on poetry and more-due to the taste Soron people around him had. Painting based on poetry was especially supported by Soron members. It became a new trend after the 18th century. Soron members repeatedly emphasized the need of poetic ideas upon evaluation of Jeong Seon's paintings 4. Soron members had great interest in southern school painting. They pointed out that Jeong Seon's panting were influenced by southern school painters such as Hwang Gongwang, Ni Chan, Shen Chou, Wen Chingming and Tung Chichang. They praised Jeong Seon for advanced usage of this painting style. Utimately southern school painting became very popular among painters in the latter Joseon period, partly owing to their preference. 5. Upon discussing southern school painting, Soron members were enthusiastic enough to go down to artists of Ming Dynasty. Retracing southern school painting's history all the way back to then is meaningful, since being done so enabled southern school painting to be viewed in a whole new paradigm. As summarized above, Soron members suggested new artistic visions through criticism, collection and records. They influenced not only Jeong Seon but also the painting trend of the late Joseon period.