새로 공개된 謙齋 鄭敾의 1742년작〈漣江壬戌帖〉 - 蘇東坡 赤壁賦의 조선적 형상화 -

Abstract

《The Painting Album of the Yon River in the Year of Imsul, Yongang Imsulchob 漣江壬戌帖》 is a painting album made by Chong Son when he worked as a magistrate of the Yangchon County. On the fifteenth day of October in the 18th year (imsul year) of King Yongjo(1742), Hong Kyongbo, the provincial governor of Kyonggi province, during his tour of inspection of the eastern Kyonggi region, invited Sin Yuhan who was the best poet in the Kyonggi province and a magistrate of the Yonchon County as well as Chong Son who was a magistrate of the Yangchon County to the Uhwa pavilion at Saknyong, and then enjoyed a boat ride together. Chong Son painted this event with two paintings, <Uhwadungson>, a scene of riding and departing a boat at the Uhwa pavilion in Saknyong and <Ungyongyeram>, a scene of dropping anchor as arriving at Unghyon in Yonchon. This meeting stemmed from the story of Su Shi(Dong-po), the Northern Song literati which happened in the year of imsul (1082) and thus was an event to commemorate Su Shi(Dong-po)’s story 660 year ago. 《Yongang Imsulchob》 contains the preface of Hong Kyongbo, a part of ‘The Poetry in the imitation of Red Cliffs’ by Sin Yuhan, and a colophon by Chong Son. Besides the painting album which have been already known, the new 《Yongang Imsulchob》 was introduced in the exhibition opened by the Tongsanbang gallery on November, 2011. As Chong Son wrote in the colophon, the second among three painting albums, has now shown up to the public. 〈Uhwadungson〉and〈Ungyongyeram〉of《Yongang Imsulchob》 were based on the old story of Su Shi(Dong-po)’s Ode to the Red Cliff and depicted an actual scenery of the Yon River. It is also the pictorial record of the boating event of the provincial governor of the Kyonggi province. The painting shows a masterful composition using a long horizontal space. On a file silk, Chong used a rather strong ink, light color, and ink tone to depict a late autumn scene. A cliff and a stone peak were drawn in the Northern school style by an ax-cut stroke while an earthen mountain and a hill in the foreground were done with the Southern school style by a hemp-fiber stroke and a moss dot. Because Chong Son had never painted a sketch on-site, these two paintings must have been made by his memory after he returned to his office which resulted in the idealization of an actual scenery. It is also the masterpiece of a careful documentation of the event scenes, the participants, and the landscapes in a long horizontal screen.