17-19세기 한국화가의 중국 도시 인식과 그 표현
Korean Painters’ Understanding and Representations of Chinese Cityscapes from the Seventeenth to Nineteenth Centuries
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This study examines how urbanism is represented in paintings by investigating the urban landscapes of Chinese cities executed by Joseon-era painters. The primary and secondary capital cities of Ming and Qing, namely Beijing and Nanjing, were depicted as the imperial cities and capitals of politics, economy, and culture, in Joseon paintings of the seventeenth to nineteenth centuries. Following the production practice of documentary paintings, Joseon court painters of Dohwaseo (government office of painting) were dispatched to China and painted the Chinese imperial cities. Examples of these include urban landscapes featured in the paintings of Sea Passage to Ming (航海朝天圖, 1624), Sites of Shenyang (瀋陽館圖帖, 1761), Travelling to China (中國紀行帖, 1784), Joseon Envoys to Beijing (燕行圖, 1790?), and Sketching Albums of Yi Sinwon (李信園寫生帖, 1812). Their dominant impressions of the cities portrayed in the paintings feature palaces and government buildings within the fortified grand city walls and gates, organized streets, bridges, and paifang gateways, among others. Beijing, the capital of Ming and Qing, where the Joseon envoys continuously visited, were filled with imperial buildings, and Confucian, Buddhist, and Taoist architectural monuments. In addition, the capital was a complex city with much to explore and newly determine on the famous sites, and booming with new interest in developing into a commercial society at the same time. On the other hand, Nanjing, the southern metropolis, where the late-Joseon envoys had never visited, was envisioned as a capital of the early Ming Dynasty through the images of different media such as woodblock prints and scroll paintings. In the painting of Joseon Envoys Departing China (送朝天客歸國詩章圖), attributed to the post-seventeenth century era, Nanjing is portrayed as the stage where descendants of former visitors to the imperial capital were provided with an opportunity to claim their social positions and the justification for being loyal to the Ming Dynasty (崇明事大). Additionally, it is extremely interesting that the eight-fold screen titled The City of Supreme Peace (太平城市圖), attributed to the last decade of the eighteenth century or the early-nineteenth century, shows an idealized dynastic urbanism. It was painted referring to other sources of media depicting the prosperity of commercialism of Beijing, Nanjing, Kaifeng, or Suzhou, and represents a virtual space where figures clad in Tang, Song, or Ming style costumes inside the Qing-style buildings sometimes used the Joseon-style objects. Chinese cities had thus been the subject of Korean painters’ documentary paintings and eventually later became the background of urban genre paintings in the process. I believe that studying such representations of capital cities will lead to closer scrutiny of the dynastic urbanism of the seventeenth and nineteenth centuries where multiple facets coexisted in East Asia.
Abstract
This study examines how urbanism is represented in paintings by investigating the urban landscapes of Chinese cities executed by Joseon-era painters. The primary and secondary capital cities of Ming and Qing, namely Beijing and Nanjing, were depicted as the imperial cities and capitals of politics, economy, and culture, in Joseon paintings of the seventeenth to nineteenth centuries. Following the production practice of documentary paintings, Joseon court painters of Dohwaseo (government office of painting) were dispatched to China and painted the Chinese imperial cities. Examples of these include urban landscapes featured in the paintings of Sea Passage to Ming (航海朝天圖, 1624), Sites of Shenyang (瀋陽館圖帖, 1761), Travelling to China (中國紀行帖, 1784), Joseon Envoys to Beijing (燕行圖, 1790?), and Sketching Albums of Yi Sinwon (李信園寫生帖, 1812). Their dominant impressions of the cities portrayed in the paintings feature palaces and government buildings within the fortified grand city walls and gates, organized streets, bridges, and paifang gateways, among others. Beijing, the capital of Ming and Qing, where the Joseon envoys continuously visited, were filled with imperial buildings, and Confucian, Buddhist, and Taoist architectural monuments. In addition, the capital was a complex city with much to explore and newly determine on the famous sites, and booming with new interest in developing into a commercial society at the same time. On the other hand, Nanjing, the southern metropolis, where the late-Joseon envoys had never visited, was envisioned as a capital of the early Ming Dynasty through the images of different media such as woodblock prints and scroll paintings. In the painting of Joseon Envoys Departing China (送朝天客歸國詩章圖), attributed to the post-seventeenth century era, Nanjing is portrayed as the stage where descendants of former visitors to the imperial capital were provided with an opportunity to claim their social positions and the justification for being loyal to the Ming Dynasty (崇明事大). Additionally, it is extremely interesting that the eight-fold screen titled The City of Supreme Peace (太平城市圖), attributed to the last decade of the eighteenth century or the early-nineteenth century, shows an idealized dynastic urbanism. It was painted referring to other sources of media depicting the prosperity of commercialism of Beijing, Nanjing, Kaifeng, or Suzhou, and represents a virtual space where figures clad in Tang, Song, or Ming style costumes inside the Qing-style buildings sometimes used the Joseon-style objects. Chinese cities had thus been the subject of Korean painters’ documentary paintings and eventually later became the background of urban genre paintings in the process. I believe that studying such representations of capital cities will lead to closer scrutiny of the dynastic urbanism of the seventeenth and nineteenth centuries where multiple facets coexisted in East Asia.
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