청 궁정의 양국도(洋菊圖)와 조선말기 회화

Abstract

The purpose of this paper is to look into the tendency and meaning of the western chrysanthemum paintings led by emperor Qianlong and its influence on the painters in the late Chosun Dynasty. In 1756, the emperor Qianlong had Zou Yigui(鄒一桂) make paintings of western chrysanthemum and publish Catalogue of Werstern Chrysanthemums(洋菊譜), and starting from this, in 1758, he himself composed 44 poems on the western chrysanthemum and made court painters paint them. This is regarded as the emperor’s interest in the western culture and his naturalistic attitude to govern his emperor. His interest did not stop at identifying the characteristics of the flower’s shape, but had the flower as the object of appreciation, and created the poems and paintings as a part of the cultural activities, presenting himself as a successor of the Chinese literati culture. Painters like Zou Yigui, Qian Weicheng(錢維城), Giuseppe Castiglione(郞世寧), Wang Chengpei(汪承霈), Li Bingde(李秉德), Hong Wu(弘旿), and Guan Huai(關槐) created paintings of western chrysanthemum which suit the emperor’s taste and changed the trend of the paintings of the flower. The painters used the shape and shadow painting method and the traditional painting method while keeping the realistic shape of the object and clear and neat atmosphere. Guan Huai emphasized the spiritual expression focusing on classical grace and dignity. While the classical chrysanthemum paintings were painted from the side or high angle, but the western chrysanthemum paintings of emperor Qianlong’s era were painted focusing on the center of the flower. In addition, the species such as Mandianhong(滿點紅) and Yanzhidai(臙脂帶) which had tubiform petals were preferred. This trend has established as a structured form in the 19th century and influenced painters of the late Chosun Dynasty such as Nam Gyewoo(南啓宇), Jang Seungeop(張 承業), the pattern of Cheonghwa Baekja, Korean folk art, and continued its influence on modern painters like Lee Gyeongseung(李絅承) and Kim Yongjin(金容鎭).