戰國秦漢時代 繪畫 表現法의 分化와 經濟 및 交易 問題

Abstract

Chinese painting already accumulated considerable expressive techniques by Neolithic Age, and following the ShangZhou(商周) period, they were preparing new perception and understanding of the painting expression way by bringing most of the future painting expression way into existence in Ancient China(B.C. 403-A.D. 219). However, previous studies on the painting expression way of Ancient China(B.C. 403-A.D. 219) stoped at briefly verifying the facts of few expression way appearances and technical characteristics, and there are still no detailed studies on the basic concept or shape of the expression way or the cause and background of the differentiation. For this reason, considerable logical leap is exposed in terms of interpreting the implicit meaning of the expression way. This study is intended to concentrate on such limitations of previous studies, to review the elementary type of painting expression way and differentiation aspect during Ancient China(B.C. 403-A.D. 219), and moreover, to review the cause and background of the differentiation in relation to the problems of the paint supply and trade. As a result, the basic direction of painting expression way of Ancient China(B.C. 403-A.D. 219) pursued to use much more types and amount of paint, to use much more fancy and elaborate expression, and seeked for much more articulate and definitized expression. Also, as a basic shape of expression way that realized the basic direction of such expression, management of exquisite ancestors, thick and detailed color are the most predominant features, and expression using other colors, comparison of various expression techniques, ancestors of various colors not limited to black, harmony of colors that accords with background color, and expression of ancestors by leaving space between colored sections are considered as other used expression techniques. Differentiation of the expression technique came into being in various expression medias around the mural painting, and the differentiation type, and the form of differentiation puts the croquis drawing, colors of light concentration, and inaccurate and simplified touched colors as its basic direction. As for the cause of differentiation, the problems of securing pigments, meaning the problems of pigments supply is considered as the major cause. In other words, when enough paint was secured, they were faithful to the basic concept and form of the expression way of the time, and if not, it seems as though they progressed the differentiation into the croquis oriented expression way. For the cause if constraint factor, the economic power of users and the problems of trade such as supply condition are considered to have made the greatest influence. In other words, as it was apparent from the Neolithic Age, the paint use was made relatively enough only when steady economic power was established, and even when the economic power was considerable due to the paint supply problem which relied upon the long distance trade, it was not easy to secure enough pigments. Awareness on the pigments as the long distance trade product was materialized through a review on the base of pigments between the production place of pigments and the review of pigments foundation between regions. In other words, it was identified that the paint production place that is identified to be distributed concentrating in the southwestern China and the Huabei(華北) region that is far from the production place have relatively weaker pigments foundation compare to the Huanam(華南) region. The above review is intended to prepare the grounds of interpreting implicit meaning of the paint expression way based on more concrete basis, and at the same time, this study will provide a theoretical basis to approach the differentiation of painting expression way from social economy aspect, such as economy and trade, than an ideological point of view as the Shanzong(禪宗) and Lao-Zhuang(老莊) ect. Moreover, this study prepared the grounds for painting to be used as one of the text in local history research related to the economy and trade in the future by newly recognizing the painting as the text that reads economy and trade.