≪단원풍속도첩≫의 작가 비정과 의미 해석의 양식사적 재검토

Abstract

It is difficult to conclude that The Album of Danwon's Genre Paintings (檀園風俗圖帖) contains Kim Hong-do(金弘道, 1745-1806?)'s autograph and own handwriting when comparing and analyzing the visual genealogy of genre paintings such as icons and strokes of brush in the latter half of Joseon(朝鮮) in details and examining various features including materials and forms from many different angles. The most rational judgment would say that the painters at Dohwaseo(圖畵署, Bureau of Painting) in the early 19th century, which saw the emergence of the following generations of painters after Danwon Kim Hong-do and Geungjae(兢齋) Kim Deuk-shin (金得臣, 1754-1822), must have made it a part of study to create textbook picture albums variously copying and compiling the genre paintings by genre painting masters in the latter half of Joseon such as Danwon and Geungjae in the process of turning them into history and canon. The judgment gains more persuasive power in that the Album contains phenomena that are difficult to find in the real works by Danwon and only found in imitations such as an arm of a person in front and a leg of another person behind being confused and combined in one in the middle in The Village School and the deadly mistake of the left hand being switched with the right hand in the bystander and the musician in Wrestling and A Boy Dancer. The judgment is also supported by the facts that the icons and strokes of brush used in those paintings in the Album are so diverse in patterns and deviations that they cannot be mistaken as those of the Danwon or Geungjae style or included in those categories and that paper of various qualities and standards was used. It is strongly implied that the Album was a study to create picture albums with engraving in mind by the observations that the Album includes paintings that were completed through several revisions that left severe traces such as The Ferryboat and that a square frame line was drawn in most of the paintings in the album. In fact, the painters would take extreme measures such as cutting off toes and arms to strictly fit a painting within the frame. However, given that the entire Album is rife with severe damage marks whose precedence would be difficult to come across such as drops of Chinese ink, unplanned lines of Chinese ink, stains of colors, and torn and pushed bits of paper in paintings, the study did not lead to engraving and was used as a textbook picture album as it was for many years.