그림 속으로 들어간 간성의 명소, 청간정

Abstract

During the Goryeo and Joseon dynasties, several groups of regional officials and travelling elites made daring initiatives in excursion and landscaping, inspiring the creation of literature and artistic works, which contributed to the conversion of regional locations into destinations of great renown across the land. The tradition and customs of these artistic efforts bestowed literary significance to regional destinations, which combined with changes in East-Asian culture in the 17-18th centuries to create widespread interest in realistic depictions of scenery and life. As a result, not only were Geumgangsan Mountain, but also the Eight Scenic Sites of Gwandong, including Cheongganjeong Pavilion, were reborn as the subjects of iconographic paintings. To explore the relationship between the rebirth of regional locations and the artistic world, this article will begin by tracing geography and maps to confirm the progression of and find a definitive point in time for Cheongganjeong Pavilion’s rise in popularity as Ganseong’s most famous destination. This examination confirmed that Cheongganjeong Pavilion, represented by the name Mangyeongdae since the Goryeo dynasty, began to be referred by its current name after 1560, which is made evident from extant maps of Gangwon province and Ganseong prefecture. This article will then consider paintings of Cheongganjeong Pavilion of the early and late 18th century and the 19th century to establish meaningful links between changes in the depictions of the pavilion and structural bases of the artistic world (e.g., artist-patron networks, urban consumer spaces, distribution/sale spaces, etc.). Resultantly, it can be understood that as paintings of Geumgangsan Mountain and the Eight Scenic Sites of Gwandong were actively created, depictions of Cheongganjeong Pavilion featuring the seaside Mangyeongru and Mangyeongdae painted alongside the pavilion itself were established in the 18th century. It can also be understood that, while Kim Hongdo’s 1788 landscape paintings came into fruition by special command of King Jeongjo, these paintings had sweeping influence lasting until the 19th century, granting unidentified painters of the 19th century the freedom to depict these images based on their own imaginations. This article reveals that, in the midst of this artistic shift, the individual remembrances and impressions of Cheongganjeong Pavilion by painters Jeong Seon and Kim Hong Do were of significant importance, and this article also uniquely discovers that the demand and distribution of these artists works (original scripts, copies, reproductions, etc.) played an important part in the commodification of art to come.