겸재 진경산수화에 나타난 남․북종 화법융합의 독창성 연구

Abstract

Jeong Seon(1676~1759) is one of the most eminent painters in late Joseon Dynasty(1700~1850) and is considered the founder of Korean true-view landscape painting, which explored the scenic beauty of the capital city of Hanyang, the Han River, the East Sea, the famous Diamond Mountains and many others. Departing from previous painting practices and traditional Chinese styles, he created a new type of painting celebrating the virtues of his native land. This papers summarized the research history of Jeong Seon’s Jinkyoung landscape painting, presents a critical view of Jinkyoung culture and the age of Jinkyoung that draw the keenest attention and the core of whose argument is difficult to identity. Also this papers contemplated two interpretation one Choi Wan-su’s monographs which is consist of Seongrihak(Neo-Confucianism) the theory of China - oriented thinking and Noron (Elderly Political Faction) and the other monographs is Jinkyoung landscape painting was effected Chinese painting styles which is what it called Namjong muninwha. However First Choi Wan-su’s monographs is kind of ultra-nationalist approach has distorted our understanding of Jeong Seon’s Jinkyoung landscape painting. For one thing many facts about Jeong Seon were composed and interpreted in this framework and as a result Jeong Seon was used not for his artistic role as a painter but as a tool to prove Jinkyoung culture theory if the assumption and interpretation of the Jinkyoung culture and the theory of Jinkyoung age are accepted the late Joseon period would be regarded as a very narrow minded unproductive leading to an acknowledgement of the colonial view of history. These uncritically biographical accounts of Jeong Seon that were, in fact, exaggerated and embellished in writing about the life and work of the artist. Second what is Jeong Seon’s Jinkyoung landscape painting originality and creativeness? The most of scholars realized that Jeong Seon’s Jinkyoung landscape painting are copied or influenced from Chinese painting styles. They not look forward worthy of the canons of painting about Jinkyoung landscape painting. The myth making of Jeong Seon has had an enormous impact on the ways in which we understand and evaluate the Jeong Seon’s artistic achievements. Now new perspectives and viewpoints are needed to gain a better understanding of the real Jeong Seon’s Jinkyoung landscape painting. And I suggested that if we want to know truth Jeong Seon’s Jinkyoung landscape painting we have to focus on Jeong Seon’s the work of arts. For the purpose, I contemplated and analyzed definitions of originality of Jinkyoung landscape paintings, which are understood and accepted by historians’s distorted interpretation. And I discovered the Jinkyoung landscape painting’s originality done by harmonies which Namjongmuninwha and bukjongwhawarnwha, however even done by convergency it could be simultaneously originality.