‘시와 같은 그림’의 문화적 함의－<소상팔경도>를 중심으로－

Abstract

King Sejong bestowed a house name called Bihae upon Prince Anpyeong, his third son, in June 1442. Regarded as a response to this award, Eight Views of Xiao Xiang was painted in August, embodying the poetry and prose of several influential senior statesmen and scholars of Jiphyeonjeon, a royal research institute established by King Sejong. Namely, the production of Eight Views of Xiao Xiang by Prince Anpyeong of Bihae attracted the attention of the then political and intellectual society. Throughout the period, King Sejong placed high importance on the culture of sound. The intellectuals who were assigned to fulfill such sound based cultural reign were the scholars of Jiphyeonjeon. These scholars performed under Prince Anpyeong of Bihae, who led the literary circles through poetry. A notable detail about these individuals is that they regarded the Eight Views of Xiao Xiang as a poetic painting. Pertaining to such poetic elements that the painting manifests, this paper will examine the cultural implications of the Eight Views of Xiao Xiang that Prince Anpyeong re-illuminated in 1442. Moreover, it will evince that Joseon’s reception of the painting’s theme that was prevalent in China was not due to mere passive relationship between the two, but was an active choice that entailed specific purpose at a particular time period. Further on, the paper will analyze how the allusions of poetic paintings functioned as the groundwork for the elite scholars to indirectly and gracefully communicate their intentions during the politically and socially significant time of the intellect’s society.