조선말기 瀟湘八景圖의 제작양상과 의미 - 소상팔경도와 시의도의 조합을 중심으로

Abstract

In this paper, I looked into the works in the form of a combination of the paintings of the eight views of xiao-xiang river and the Poetic Painting among the paintings of the eight views of xiao-xiang river produced in the late Joseon period. The paintings of the eight views of xiao-xiang river and the Poetic Painting are representative paintings in which literature and painting harmonize, and although there are parts that communicate with each other, they have been drawn with their respective painting traditions. However, in the late Joseon Dynasty, the paintings of the eight views of xiao-xiang river and the Poetic Painting, which were drawn in each landscape painting, were combined together to form a single folding screen. As it has a long history, it was a difficult change due to each production tradition. In particular, in the case of the paintings of the eight views of xiao-xiang river, the changes in the production customs that have been drawn with the sanctioned the eight views of xiao-xiang river are almost standardized, which is also significant in the history of painting. In order to understand this change in the production pattern, we looked at the production trends of the paintings of the eight views of xiao-xiang river and the Poetic Painting in the late Joseon Dynasty. Through this, it could be seen that the designation of the paintings of the eight views of xiao-xiang river, which was different from the previous period, was completed by referring to painting album introduced from the middle of Joseon Dynasty. It can be seen that the Poetic Painting was popular due to the influence of poetry production and painting album, which was active during the Ming Dynasty in China. And these two landscape paintings achieved a new type of completion and became fashionable, and the character who played the role had a common point: Gyeomjae Jeongseon. In addition, the paintings of the eight views of xiao-xiang river was poetically written with a landscape pattern of the Cheonghwa white porcelain, and it was also drawn with the Poetic Painting. The poems drawn on the Cheonghwa white porcelain were often Tang Dynasty Poems. It can be seen that the fact that the paintings of the eight views of xiao-xiang river and the Poetic Painting were drawn together on Cheonghwa white porcelain, and that Tang Dynasty Poems was mainly borrowed from the Poetic Painting were related to the production pattern of the paintings of the eight views of xiao-xiang river in the late Joseon Dynasty. Poetry, which was accepted as the paintings of the eight views of xiao-xiang river in the late Joseon Dynasty, also had the greatest number of poetry, and most of the poems that became the topic of mountain and water patterns were confirmed in the joint works of the paintings of the eight views of xiao-xiang river. The Poetic Painting, which was popular in the late Joseon Dynasty, was accepted and enjoyed in the paintings of the eight views of xiao-xiang river in the late Joseon Dynasty. In the late Joseon Dynasty, the Poetic Painting was not as popular as the late Joseon Dynasty. However, the aspect of being produced in the form of a combination of the paintings of the eight views of xiao-xiang river and poetry can be understood as a phenomenon in which the layer of enjoyment is expanded and popularized. In particular, poems produced in the Poetic Painting were the most popular poetry, which was loved since the late Joseon Dynasty. In addition, it can be seen that the time was popularized through the phenomenon that Tang Dynasty Poems was widely used in the lyrics of songs sung in performances. At the end of the Joseon Dynasty, a new type of work was produced, which combines the paintings of the eight views of xiao-xiang river and si-eui-do, influenced by these various cultural changes.