南京을 재현한 明末淸初 山水版畵와 繪畫

Abstract

This study examines the appearance and meaning of landscape paintings and woodblock prints depicting scenic spots in Nanjing in the late Ming and early Qing dynasties. Numerous pictorial representations of various views of dynastic capitals were produced in East Asia from the seventeenth century onwards, such as Nanjing and Beijing in Ming-Qing China, Tokyo and Kyoto in Edo Japan, and Seoul in late-Joseon Korea. These include paintings and prints portraying not only rural landscapes around cities but also everyday city life and prosperous urban markets. Previous studies have suggested that the development of Chinese, Japanese, and Korean landscape paintings was merely the product of evolving art history in each country. But we know that all three states produced great local artists who transformed Chinese literati painting styles with their own unique idioms when depicting famous local scenic spots such as Mt. Huang in China, Mt. Fuji in Japan, and Mt. Geumgang in Korea. Similarly, the landscape paintings and prints depicting scenes from dynastic capital cities in the three countries at this time can be taken as evidence of a similar phenomenon. In this paper, I focus on two collections of printed illustrations of forty scenes from Nanjing and attempt to describe their characteristics, functions, viewers and so on. I also compare the relationship between landscape paintings and prints by Nanjing school painters and those of others. Through this approach, I attempt to explain the reasons for their prevalence and their uniqueness, and to highlight the significance of fact that they were produced for public consumption. One of the collections is Jinling tuyong (Illustrated Odes on Nanjing, 金陵圖詠), compiled by Zhu Zhifan (朱之蕃) of Nanjing in 1623. Jingling tuyong was accompanied by forty illustrations by Lu Shoubo (陸壽柏), who may have been a minor professional artist in Nanjing. The other is Jiangning fuzhi (Gazetteer of Jiangning Prefecture, 江寧府志), compiled by Chen Kaiyu (陳開虞) in 1668 and accompanied by an inscription by Zhou Lianggong (周亮工) and forty illustrations by Gao Cen (高岑). Chen and Zhou were influential Nanjing officials, while Gao was a professional artist from Hangzhou who became one of the Eight Masters of Nanjing (金陵八家). Though the two gazetteers were published at different times, and the titles of each of their forty scenes do not match literally, there is correspondence between all of the places they depict. They also share certain characteristics and functions: they portray Nanjing as a cultured city full of poetic images and traces of ancient history as well as notable beauty spots. The choices of sites and approaches taken to them marked the arrival of a native paradigm in the imaging of Nanjing. There are also several interesting points that extend beyond the works' regional significance, however. Firstly, it is proposed that these prints of Nanjing and their relationship to other paintings constitute a Chinese case that paralleled the trend for real scenery landscape painting during the seventeenth and eighteenth centuries throughout East Asia. The painters of the Wu and Huangshan schools began to depict notable scenes from Nanjing. The styles and practices of both schools were based on literati tastes that originated with the Wu and Songjiang schools. They changed the Che School style that had prevailed in Nanjing since the fifteenth century into a new formative composition concerned with poetic feeling and concepts from ancient classics, as well as the actual world at the time. In addition, many Nanjing school painters were influenced by Western painting techniques introduced by visiting Jesuit missionaries and in Western publications. Gao Cen’s notion of framed space reveals Western influence, even though this was diminished in the process of publication. Most importantly, in terms of public exposure to visual media, the forty illustrations in each gazetteer contributed to expanding public knowledge about Nanjing. They also helped to transform the city's public image from that of one of emperors to one of commoners. It appears that urban prosperity and culture in Jiangnan influenced the East Asian capitalist system and even the characteristics of Chinese visual media. In short, it should be noted that painters in seventeenth century Nanjing depicted real scenes from around their city using new painting techniques shaped both by the literati tastes of the Wu and Songjiang schools and by Western influences. This situation is similar to that of painters in eighteenth-century Seoul and in Beijing, Tokyo and Kyoto. However, the practice of publishing for wide readership by commoners was not as common in these other cities. At this point, it is necessary not only to differentiate between the developmental trajectories of the public realm in each of the three countries, but also to be aware of the need to compare visual approaches to each of their dynastic capitals.