한국 문인화의 유파 연구

Abstract

This paper is a study on the schools of Korean literati painting to represent Korean art in the future as Korea’s overarching cultural heritage. The term “literati painting” (文人画; wén rén huà) was first used by Dong Qichang during the Ming dynasty, but it originates from the fact that Su Shi referred to paintings done by a literary person as “scholar paintings” (士人畵, shì rén huà) during the Northern Song dynasty. This type of painting is particularly marked by its emphasis on elegance and taste ratherthan copying forms or images. It is fascinating how contemporary literati painting is defined as a painting that evokes a literary mood, not a literary person’s status. Very few works of Korean literati painting that werepassed down from China and produced betweenthe Goryeo dynasty andmid-Joseon period arestill in existence,so it is hard to grasp how this painting genre was embraced in its early stage. As the Southern School of Chinese painting was introduced in earnest duringthe late Joseon dynasty, the source of ingenious Korean literati painting was shaped primarily by late Joseon painters such as Yi In-sang, Kang Se-hwang, Shin Wi, and Kim Jeong-hui. Korean literati painting which continuesinto the present is pigeonholed into three schools. The first is the school of preserving tradition led by Heo Baek-ryeon and Son Jae-hyeoong. Painters included in this school still remain active to this day, and their paintings are characterized by a comfortable, relaxing atmosphere that suitsKorean emotions. The second is aschool that was influenced by Chinese new literati paintingand spearheaded by Min Young-ik, Kim Kyu-jin, Kim Yong-jin, and Seo Byung-oh. Painters included in this school of literati painting have concentrated primarily on modernizing literati painting at the centers of Hongik University, Keimyung University, and the Daegu region. Influenced by epigraphy, paintings of this school are particularly marked by jungbong(中鋒, a brush technique in which the center of a brush corresponds to the drawing direction), intense hues, and a new modeling quality. The third school initiated by Kim Yong-jun wasinfluenced by the New Southern School of Japanese Painting (新南画, new nanga). Painters of this school have pursued a wide range of changes to embrace contemporary art mainly in ink wash painting, but theeffect has beenmodest at best due to a reduction in the number ofartists from Seoul National University and teaching staff. As examined above, Korean literati painting derived from China but developed into three schoolsthat led the Korean art scene with theirown distinctiveanddiverse expressions. Having flourished in East Asia, literati painting has had an enormous impact on our consciousness with its spirituality, elegance, and style. It is hoped that literati painting, which is the fusion of intelligence and philosophy, can play a leading part in representing Korean art as a key Korean cultural heritage.