‘불이선란’ 속 제관(題款)에 관한 一考 -아호(雅號)를 중심으로-

Abstract

Xie-yi hua(寫意畵; freehand drawing or painting in traditional Chinese style) is a representative genre in the Oriental art history that exhibits implicit charm in rhyme(韻味) and abstractness of Chinese ink and brush. Started by Wang Wei(王維; 701∼761, estimated) of the Tang dynasty, Xie-yi hua was sought after by scholars of the Song dynasty(宋; 960∼1279) who pursued the unity of learning and art, and achieved its full status in the Ming and Qing dynasties(明淸; 1368∼ 1912). Spirits of Xie-yi hua continued in the neighboring country of that time, Joseon(朝鮮), particularly in the works by Kim Jeong-hui(金正喜; 1786∼1856), Sehan-do(歲寒圖) and Buriseonran(不二禪蘭). Kim Jeong-hui can be considered a great role model for generations to come for his artistic mind Munjahyang and Seogwongi(文字香 書卷氣), his philosophical status extending over Confucianism, Buddhism and Taoism, and his innate talents and hard work as a scholar of Confucian classics who pursued the unity of learning and art(學藝一致). Buriseonran(不二禪蘭), one of the Kim's famous paintings, which will be dealt with in this study, can be the evidence of his greatness. Despite its artistic completeness, little has been researched on Buriseonran. This study, therefore, is to explore the work, particularly focusing on the verse, calligraphy and seal(題 款), and the pen name(雅號) expressed in the work. The methodology of the study is as follows. First, the beauty of style in Buriseonran was examined. Its external features including expression of the title, year and the narrative style were dealt with. Second, the beauty of content in the work was examined as well. For that, this study revealed Kim Jeong-hui's thoughts hidden in the verse, calligraphy and seal of the work so as to discuss their relationships with the pen name he used in the work. As a result, his pen name in Buriseonran is based on his philosophical reasoning Mudojak(無徒作; unaffected, behaving naturally), and the verse, calligraphy and seal combined with his pen name let the viewer look into his aesthetic mentality. If one wants to explore the spirits of Buriseonran, the person has to place focus on the verse, calligraphy and seal, and the pen name in the work. There have been various attempts to research Buriseonran, but little has been studied on relations between his works and pen names he used for the works. Therefore, this study has significance as Buriseonran, although being just a single work, was presented from a broader point of view that enables us to appreciate Kim Jeong-hui's perception of calligraphies and paintings and ‘불이선란’ 속 제관(題款)에 관한 一考131 as it suggested an aesthetic idea “Buril Buri”(不一不二; no oneness and no duality) that underlies an artistic work from its verse, calligraphy and picture to the seal and pen name.